Explore every episode of the podcast Daring Forever (Find your Extraordinary)

A short bonus episode showcasing a few standout moments from this week's guest interview with actor, Rob Brownstein ~

Daring Forever. Podcast with Radim Malinic

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Rob Brownstein is an American actor, teacher and coach. He has spent decades working in theatre, television and film. His path into acting started by accident. In 1977, when New York City went bankrupt, his jazz major disappeared over one summer. With nowhere else to go, he walked into a drama-building audition. He didn’t get a part, but he knew straight away that this was what he wanted to do.

In this conversation, Rob and Radim talk about why great acting is never about perfection, and how the craft is like jazz: improvisation, new keys and new modes. Rob explains why he sees acting as exploring “inner space”. He tells the story of nearly walking out of an audition room full of faces he recognised, and how staying turned out to be a turning point. He also explains why he now believes talent comes down to openness rather than ability. Finally, he talks about the quiet power of accepting your place in your career, and how that acceptance let him start reaching higher.

Takeaways

• Perfection doesn’t exist. The perfect creative moment is imperfect by nature.
• Courage doesn’t have to last forever. Twenty seconds is often enough to get you over the hump.
• Let go of expectations. After the first nervous days on a challenging project, the work starts when you let the moments find you.
• Talent is openness. Many people could act, but not everyone is willing to feel and to drop the facades they wear.
• Knowing a little can make you more afraid. Experience brings comparison, so fear has to be managed rather than avoided.
• The best people are generous. Real professionals meet you halfway, and they’re fans of other people’s work.
• Celebrate where you are. Accepting your current place is what lets you look higher.
• Great stories need the whole cast. Supporting players raise the level and keep the leads from getting complacent.
• Stay a student. Classes, readings, observing people and new challenges keep the craft alive.
• Tenacity and love for the work carry a long career, especially when success doesn’t come quickly.

Daring Forever. Podcast with Radim Malinic

daringcreativity.com |  desk@daringcreativity.com

Books by Radim Malinic Paperback and Kindle > https://amzn.to/4biTwFc
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A short bonus episode showcasing a few standout moments from this week's guest interview with Eleni Beveratou from Dalton Maag ~

Daring Forever. Podcast with Radim Malinic

daringcreativity.com |  desk@daringcreativity.com

Books by Radim Malinic Paperback and Kindle > https://amzn.to/4biTwFc
Free audiobook (with Audible trial) > https://geni.us/free-audiobook
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Eleni Beveratou, creative director at the London type studio Dalton Maag, comes back to Daring Forever. ~

Her first conversation looked back at her origin story; this one looks ahead at what it means to be a type designer in 2026. Eleni explains why accessibility and multi-script design now lead client conversations, how variable fonts are bringing back craft that was lost in the early digital years, and why her team calls themselves font developers rather than type designers. 

She talks about the weight of designing letters that billions of people will read, the problem with outdated accessibility guidelines, and how growing up with Latinised Greek type shaped her sense of responsibility. Along the way, she makes the case that knowledge can’t be fast-tracked, that collaboration exposes our blind spots, and that bad kerning still gives the world plenty of stories.

Key takeaways

• Type in 2026 is human. Accessibility and multi-script design are now what clients bring to the table, and Eleni sees both as type doing what it should.
• Bad kerning is a gift. A world of perfect type would be boring. Every misplaced letter on a boat or shopfront carries a story.
• Same typeface, different worlds. One font can look completely different depending on scale and context, so don’t be too prescriptive about how people use it.
• Variable fonts revive old craft. Punch cutters adjusted design and spacing for different sizes. Early digital type lost that, and variable fonts are bringing it back.
• Type can now move and respond. Variable fonts can react to sound, colour, and distance from the screen, opening type up to motion and interaction.
• Design and engineering inform each other. Knowing a typeface’s technical capabilities shapes the design, and design ambition pushes the engineering further.
• Test where the type will live. White text on black looks heavier because of a halo effect. Thorough testing across environments and operating systems shows what a shiny studio screen won’t.
• Know when to stop. Deadlines are real, imperfection is human, and more eyes on the work (colleagues, clients, real users) is how you reach excellence.
• Design for the eyes you serve. Most designers are 20 to 40, but many users are over 40, and eyesight changes.
• There’s no single accessibility fix. Expressive type can create a feeling. Information type needs to be read fast and clearly. Different needs call for different solutions.
• Question outdated guidelines. Many accessibility rules for type date from an era of five system fonts. Put real users in the decision-making.
• Multi-script work is shared work. Native in-house knowledge, outside consultants and clients’ local teams all help shape each script.
• Responsibility means doing the right thing slowly. Greek type was once heavily Latinised. Designers gradually corrected it, and in the process changed people’s habits.
• Hire the person behind the talent. Skill has to be there, but soft skills, teamwork, and a company’s human side make the difference.

Daring Forever. Podcast with Radim Malinic

daringcreativity.com |  desk@daringcreativity.com

Books by Radim Malinic Paperback and Kindle > https://amzn.to/4biTwFc
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A short bonus episode showcasing a few standout moments from this week's guest interview with Seth Epstein from Los York ~

Daring Forever. Podcast with Radim Malinic

daringcreativity.com |  desk@daringcreativity.com

Books by Radim Malinic Paperback and Kindle > https://amzn.to/4biTwFc
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Seth Epstein is a creative entrepreneur and the founder and CEO of Los York, a global creative company of self-described “global nomads of the arts.” In this conversation, Radim and Seth skip the business talk and follow the story behind it. ~

It starts with a furious client phone call in the mid-’90s, in the early days of Fuel, one of the first Mac-based motion design studios in LA. Inspired by the Zen parable “Emptying the Cup,” Seth asked to come in and simply listen. That meeting became the basis of how he listens, leads and wins work to this day.

Seth talks about growing up between a hippie philosopher father and a disciplined, self-improvement-driven mother. He sold Fuel to Razorfish at 31 and then spent nearly a decade lost, without purpose. At one low point, his family couldn’t afford groceries. 

A small passion film made with one camera, about his hero Shawn Stüssy, opened the door back into the industry. It led to taking over Stardust and eventually to Los York, whose name, ethos and clothing label all trace back to Stüssy’s International Tribe. The episode ends with a reflection on why creatives keep returning to their hands, and on the universal urge to grow towards the light.

Key takeaways

• You can’t have a breakthrough without a breakdown. Breakdowns are a signal that growth is around the corner, so go looking for them.
• Empty the cup. Let people say everything, don’t defend yourself, then repeat back what you heard so they feel fully heard.
• There are three kinds of listening: distracted, listening to respond (the cocktail-party default) and listening to recreate. The last one wins work and builds relationships.
• Write your own notes. Seth handwrites his and doesn’t let AI do it, because the quality of listening is the competitive edge.
• Money without purpose leads to misery. The “someday my prince will come” story falls apart without community and meaning.
• When everything is stripped away, go back to home base. Ask what you’re good at and what you’d do for free.
• Constraints create great work. One camera, no crew and nothing to lose made a hero-level ask feel easy.
• Comfort kills. Comfort is when we start trimming our dreams and ignoring the “wouldn’t it be cool if” urge.
• One meeting can change your life. Stay open and available, because a throwaway comment can change your direction.
• Find your North Star. Look for people living the life you want and let them pull you forward.
• Be a multi-hyphenate. Keep finding new ways to create, including being bad at ceramics.

Daring Forever. Podcast with Radim Malinic

daringcreativity.com |  desk@daringcreativity.com

Books by Radim Malinic Paperback and Kindle > https://amzn.to/4biTwFc
Free audiobook (with Audible trial) > https://geni.us/free-audiobook
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A short bonus episode showcasing a few standout moments from this week's guest interview with Amy Swift ~

Daring Forever. Podcast with Radim Malinic

daringcreativity.com |  desk@daringcreativity.com

Books by Radim Malinic Paperback and Kindle > https://amzn.to/4biTwFc
Free audiobook (with Audible trial) > https://geni.us/free-audiobook
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Amy Swift is a singer and songwriter from London. She grew up in South East London on her parents' Motown, jazz and blues records and was going to gigs from about 15. ~

Her career started on Myspace and in a part-time job selling subscriptions at Music Week, where she "bullied" her way into industry events. Amy Winehouse was breaking through at the same time, so Amy took an alias, Berry Farley, which was her nan's name. 

Features on house tracks followed, then fronting Pacific State with The Shapeshifters and a deal with Universal. She was grateful for all of it, but she never wanted to be just a voice on a house track, because she had stories to tell.

She and Radim talk about where songs come from, and about learning to write to a brief for sync, TV, adverts and even a musical for a cruise ship. They also cover the "twisted fairy tale" of publishing contracts, a week-long writing camp in Denmark with no phones, and why her track Moving ended up using the first demo vocal she recorded.

Takeaways

• Songs start with a feeling. Ask yourself how you feel and what you want to say, then the melody and words follow.
• Anyone can write, because we all share heartache, loss and grief.
• Writing to a brief is a different way of thinking. The constraints can free you up instead of limiting you.
• Sync work became a real income during COVID. It also put her music in front of hundreds of thousands of people through a Netflix show.
• Be open about the commercial side of being an artist. There's no shame in having more than one way to earn from music.
• Labels and publishing deals aren't the be-all and end-all, and they can leave you stuck.
• Less is more. When it feels good, stop, because overcooking can take months or even years.
• Your songs capture a moment in time, and that's what makes them beautiful years later.

Daring Forever. Podcast with Radim Malinic

daringcreativity.com |  desk@daringcreativity.com

Books by Radim Malinic Paperback and Kindle > https://amzn.to/4biTwFc
Free audiobook (with Audible trial) > https://geni.us/free-audiobook
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A short bonus episode showcasing a few standout moments from this week's guest interview with Nils Leonard from Uncommon Creative Studio ~

Daring Forever. Podcast with Radim Malinic

daringcreativity.com |  desk@daringcreativity.com

Books by Radim Malinic Paperback and Kindle > https://amzn.to/4biTwFc
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Nils Leonard is the creative founder of Uncommon Creative Studio, with offices in Stockholm, London and New York. Its work covers design, advertising, film, narrative objects and art, including a show at the Venice Biennale. ~ 

In this conversation, Nils explains why he doesn't want to win the opening weekend. He wants to make reference points: work people still talk about years later. 

He talks about the long break after Grey that stopped Uncommon from becoming "Grey Part Two", and why the first question he asks every new client is "why are you here?" He also explains how three years of a website with nothing on it but a bouncing flag flushed out the time-wasters.

Nils looks back on LifePaint and what he'd do differently, tells the Yves Klein story that inspired the bacteria reveal at OFFF Festival, and explains why he markets to talent before clients. He ends with the kind of work he wants to make next: places and monuments built to outlast everyone involved.

Key takeaways

• Treat every brief as a chance to matter. Whether work adds to your life's tapestry or just fills someone else's list depends on how you choose to see your job.
• Define success before you start. Most of the industry's frustrations come from never asking the client what success really looks like.
• Make it inevitable, not brave. The goal is an idea so right for the problem that nobody even sees it as a risk.
• Build first, then invite. Taking an idea to a brand as an invitation, instead of asking permission, changes the power dynamic.
• Scarcity is value. When everyone takes in the same inputs and offers the same things, being unlike anyone else becomes the offer.
• Narrative objects travel further than adverts. A product, object or place that tells a story lets people retell it in their own way.
• Market to talent first. If the best people want to work with you, the clients follow.
• Want people, don't need them. The power lies in making things happen without depending on anyone.
• Articulation matters as much as art direction. Creatives need to be heard outside their work, whether that's writing, speaking, publishing or making.
• Make it for yourself. The most personal work is often the most universal.

Daring Forever. Podcast with Radim Malinic

daringcreativity.com |  desk@daringcreativity.com

Books by Radim Malinic Paperback and Kindle > https://amzn.to/4biTwFc
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A short bonus episode showcasing a few standout moments from this week's guest interview with Frances Yeoland ~

Daring Forever. Podcast with Radim Malinic

daringcreativity.com |  desk@daringcreativity.com

Books by Radim Malinic Paperback and Kindle > https://amzn.to/4biTwFc
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Frances Yeoland is a Sydney-born, New York-based creative director and artist who has spent fifteen years working across branding, campaigns and design systems, while building a parallel practice as an abstract painter and poet.~

She talks with Radim about growing up between Australia's Western outlook and its geographic place in Asia, discovering gallery spaces as a teenage sanctuary, and the long process of letting her commercial and artistic selves finally meet instead of staying separate. 

The conversation moves through her process, poetry as the seed of every painting, colour pulled from photos of everyday urban scenes, and the discipline of resisting the impulse to "fix" a stray brushstroke. They also wander into living eulogies, the value of sitting in ambiguity rather than being pigeonholed, and why doubt doesn't have to disappear for the work to be good.

TAKEAWAYS

• Frances trained in graphic design in Sydney without knowing it existed as a career, discovering it was a way to combine language and visual delivery
• Art galleries became a teenage sanctuary for her as a queer woman navigating a conservative upbringing, offering stories and ways of living she couldn't find elsewhere
• She spent years keeping her commercial design work and personal art practice deliberately separate, before realising the two feed and sharpen each other
• Her paintings begin as poetry — she writes fragments of language first, then builds visual rhythm and colour that mirror the feeling of the words
• Colour choices come partly from a "colour stories" photo album on her phone, pulled from urban scenes and everyday compositions she notices while out in the world
• She resists retouching or correcting mistakes in her physical work, treating an errant brushstroke as proof of the handmade rather than a flaw to erase
• Showing her art publicly for the first time, in a solo show curated by Sydney Fishman, felt deeply vulnerable but gave others permission to be vulnerable too
• She'd rather sit in ambiguity than explain herself into a single job title, believing people are too often afraid of mystery
• Doubt, for her, never fully goes away — she's made peace with it being part of the process rather than a signal to stop
• She and Radim riff on the idea of "living eulogies" — describing people by their values and qualities while they're still here to hear it

Daring Forever. Podcast with Radim Malinic

daringcreativity.com |  desk@daringcreativity.com

Books by Radim Malinic Paperback and Kindle > https://amzn.to/4biTwFc
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A short bonus episode showcasing a few standout moments from this week's guest interview with James Martin ~

Daring Forever. Podcast with Radim Malinic

daringcreativity.com |  desk@daringcreativity.com

Books by Radim Malinic Paperback and Kindle > https://amzn.to/4biTwFc
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James Martin — designer, educator, and now double author of No Bullshit Branding — joins Radim to unpack why perception so often outruns talent, and what to do about it. ~

The conversation moves from why James wrote a deliberately slow, research-heavy book in a fast-content world, into his central framework: the gap between evidence (everything you've actually done) and proof (what you show the world so people can believe it). 

Along the way, they cover the "hidden geniuses" of the creative industry, the effort heuristic, and why chasing social media visibility without asking where your actual clients are is quietly (well — loudly) burning people out.

Takeaways

• Evidence and proof are not the same thing — evidence is everything you've done; proof is the fraction of it you make visible to people who don't yet know you
• Perception can outweigh talent: the effort heuristic means people equate visible effort with value, regardless of skill
• "Hidden geniuses" — highly skilled people with no visibility — lose opportunities to less-skilled people who are simply better perceived
• A brand is a recognisable reputation, not a logo or a content calendar
• The Five Idea Keys are sequential — you can't skip ahead without answering the question in front of you
• Minimum Viable Brand borrows from lean startup thinking: build small, put it in the world, test, then improve
• Ask existing clients how they actually found you before deciding where to spend your marketing time
• Human biology drives us to conform (Hotelling's Law) — awareness of that pull is the first step to resisting it
• A book (or any deliberate act of proof) can reset how you're perceived, separate from algorithmic visibility

Daring Forever. Podcast with Radim Malinic

daringcreativity.com |  desk@daringcreativity.com

Books by Radim Malinic Paperback and Kindle > https://amzn.to/4biTwFc
Free audiobook (with Audible trial) > https://geni.us/free-audiobook
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A short bonus episode showcasing a few standout moments from this week's guest interview with Marissa Garcia ~

Daring Forever. Podcast with Radim Malinic

daringcreativity.com |  desk@daringcreativity.com

Books by Radim Malinic Paperback and Kindle > https://amzn.to/4biTwFc
Free audiobook (with Audible trial) > https://geni.us/free-audiobook
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Marissa Garcia is a brand designer and strategist from Fresno, California, currently in the middle of what she calls a "personal revolution" — expanding from brand design and strategy into building a creative co-working studio for entrepreneurs and founders in her hometown. ~

A former competitive runner, Marissa traces her understanding of personal branding back to childhood, when she was repeatedly cast as "Scary Spice" instead of the "Sporty Spice" identity she felt was truly hers. That early lesson — that if you don't control your narrative, someone else will — became the foundation of her three pillars of personal brand: clarity, consistency, and connection. 

She and Radim dig into her "delulu" mindset, the belief that opportunity isn't found but built, and the story of how she cold-pitched her way onto a stage at Cannes Lions and funded the entire trip through connections she built with no prior relationship.

Takeaways

• Personal brand isn't something you own — it's something others perceive, but you have real power to influence it
• Marissa's three pillars: clarity (showing people who you are), consistency ("make it on brand" in everything you do), and connection (building relationships, not making asks)
• Being a "multi-hyphenate" isn't a lack of focus — singular identities can box creatives in rather than free them
• Opportunity is built, not found — Marissa manufactured her own speaking stage and funding at Cannes Lions through months of relationship-building
• Corporate life taught her the cost of attaching identity to a title or company instead of a bigger mission
• "Unshakable belief in what's possible," forged through her athletic background, carries into how she approaches business and rejection alike
• Other people's opinions of you are "none of your business" — a mantra she also teaches her kids

Daring Forever. Podcast with Radim Malinic

daringcreativity.com |  desk@daringcreativity.com

Books by Radim Malinic Paperback and Kindle > https://amzn.to/4biTwFc
Free audiobook (with Audible trial) > https://geni.us/free-audiobook
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Lux Coffee Co. https://luxcoffee.co.uk/  (Use: PODCAST for 15% off)
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A short bonus episode showcasing a few standout moments from this week's guest interview with Benji Wiedemann wiedemannlampe.com ~

Daring Forever. Podcast with Radim Malinic

daringcreativity.com |  desk@daringcreativity.com

Books by Radim Malinic Paperback and Kindle > https://amzn.to/4biTwFc
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Benji Wiedemann, co-founder and executive creative director of Wiedemann Lampe, joins Radim to unpack a career that's grown from graphic design into something closer to nation-building — cultural strategy for governments, museums, and city-scale projects that won't be finished for another 25 years. ~

Benji traces his path from a German-Jewish family shaped by displacement, through a childhood spent convinced he'd end up homeless, to co-founding an agency with Alex Lampe that now works on cities not yet built. 

This is a conversation about listening as a discipline, self-doubt as a tool, and designing for a timescale far longer than any one career.

Takeaways

• Family history can become a working philosophy — Benji's grandfather's "if you can't fit it in your pocket, you can't have it" now shapes how his agency thinks about value beyond ownership
• Struggling academically doesn't predict creative capability — some minds simply need different conditions, not different expectations
• Cultural strategy work runs on immersion, not assumption — arriving with "no bias" and extracting meaning rather than imposing ideas
• Real listening isn't passive — showing people how they've been heard is what turns input into trust
• Self-doubt and fear aren't obstacles to creative clarity — treated right, they're what sharpens a point of view
• Sustainable business leadership means building systems and making yourself replaceable, not staying indispensable
• Long-term thinking is a genuine competitive advantage — projects designed to outlive their creators tend to be the ones that matter
• Curiosity, empathy, and self-doubt together form a more durable creative foundation than confidence alone

Daring Forever. Podcast with Radim Malinic

daringcreativity.com |  desk@daringcreativity.com

Books by Radim Malinic Paperback and Kindle > https://amzn.to/4biTwFc
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A short bonus episode showcasing a few standout moments from this week's guest interview with Melissa Castan  ~

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Books by Radim Malinic Paperback and Kindle > https://amzn.to/4biTwFc
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Mel Castan is a Mexico City-born, Barcelona-based animator, illustrator, and community builder whose creative journey has taken her from advertising school to motion graphics to founding two community projects for creatives. ~

She talks with Radim about growing up in a military family with a spiritual streak, discovering illustration as a meditative practice, and building spaces where creatives can process burnout, imposter syndrome, and identity beyond the usual networking event.

Takeaways

• Mel is a Mexico City-born, Barcelona-based animator, illustrator, and producer who's spent nine years building a career across advertising, motion design, and community-building
• Growing up in a military family — her grandfather a retired army general who turned to spirituality after retiring — shaped her comfort holding contradictions together
• She describes creativity as a lifelong practice tied to her ADHD, and drawing as a meditative practice since childhood
• A mapping show by Amon Tobin reshaped her sense of what creative work could be and pulled her toward studying motion graphics in Barcelona
• She spent her first days in Barcelona intentionally getting lost in the Gothic Quarter, without a phone or map, as her way of learning the city
• She co-founded Frames by Friends, a five-year community for Barcelona's animators and motion designers that grew from an expected 20 people to 75 at its first event
• Her current project, Side Project, builds spaces — Honest Conversations and Work in Progress — for creatives to process burnout, imposter syndrome, and identity beyond networking
• She describes "vicarious learning" — the idea that sharing our struggles with others makes them feel lighter and less isolating
• Her guiding philosophy is that ideas have home, and her role is to be that home for others
• She's letting Side Project's future shape itself without attachment to a fixed outcome, trusting that showing up consistently will reveal the next step

Daring Forever. Podcast with Radim Malinic

daringcreativity.com |  desk@daringcreativity.com

Books by Radim Malinic Paperback and Kindle > https://amzn.to/4biTwFc
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A short bonus episode showcasing a few standout moments from this week's guest interview with Pep Salazar from OFFF Festival  ~

Daring Forever. Podcast with Radim Malinic

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Books by Radim Malinic Paperback and Kindle > https://amzn.to/4biTwFc
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Pep Salazar, director of OFFF — the design and creativity festival he's shaped since 2007 — joins Radim to unpack what it really takes to build a "city for three days." ~ 

Pep traces his own unlikely path, from a teenager who dreamed of being an actor in a small town near Barcelona, through his formative years building Sónar, to the moment he realised passion alone can blur your vision and every idea needs a manager to make it real. 

They talk about why OFFF shows unfinished work instead of polished portfolios, how a team of seven becomes thirty-five once the doors open, and why Pep would rather rebrand the festival every five years than let it stand still. This is a conversation about risk, honesty, and the invisible, exhausting, joyful work of building a community that actually means it.

Takeaways

• Passion can blur your vision — every big idea eventually needs a manager to protect it and make it real
• A festival isn't a finished portfolio piece; showing the process and the unfinished idea is what builds real trust with a community
• Location does double duty — the city gives you context, but the venue has to speak the same language as the event itself
• Curating without a fixed theme keeps a lineup honest and lets creativity stay wide instead of narrow
• Saying no to most people who want the stage is one of the hardest, least visible parts of the job
• Deliberately rebranding every few years keeps a design festival credible — you can't ask others to embrace change if you won't
• Growth doesn't have to mean franchising — co-producing with local partners builds real community instead of a copy-paste event
• The job is made of a thousand three-minute conversations, and learning to actually enjoy them is its own skill

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A short bonus episode showcasing a few standout moments from this week's guest interview with Lidia Scarlat  ~

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Lidia Scarlat is a Moldova-born producer who has built a career spanning animation, motion, VFX and live events — from stage visuals for the Swan Lake Ballet to screen visuals for Jurassic World theme park, often in the very same week. ~ 
Raised in a family of artists during Moldova's turbulent post-Soviet transition, she talks with Radim about how "everything is temporary and it will be fine" became a defining philosophy, why producing means jumping off the cliff before the artist ever can, and how showing up — not waiting to be discovered — built her entire career. 

They also get into AI's growing role in creative pipelines and why taste, direction and storytelling remain the parts no machine can touch.

TAKEAWAYS

• Growing up in post-Soviet Moldova, Lidia's family shielded her from real instability while instilling the belief that everything is temporary and will be fine
• She comes from generations of artists — a polymath great-grandfather, actor grandparents, ballet-dancer parents — yet chose producing as her own way into the arts
• Producing means saying yes before anything exists — no team, no roadmap, just the intuition that you'll figure it out
• Nobody gets discovered by waiting; showing up to conferences and communities, starting with Motionographer and later OFFF, built her entire network and career
• She deliberately gives opportunities to artists without polished portfolios, because desire and hunger can't be faked or bought
• Learning to ask "stupid" questions early, instead of pretending to understand, became one of her most valuable production skills
• Every project is treated as its own "mutant" — pipeline and pace are built around the people and personalities involved, not a fixed process
• On AI: she's watched teams move from fear to curiosity, using it to iterate concepts faster, while believing taste and storytelling remain irreplaceable
• Her real measure of a good project isn't the outcome alone, but whether she'll love looking back on the process of making it

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A short bonus episode showcasing a few standout moments from this week's guest interview with Dan Woodger  ~

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Dan Woodger — freelance illustrator, animation director, and returning Daring Forever guest — joins Radim to unpack Run London Draw London, the project he built alongside training for this year's London Marathon. ~

Starting from a blank canvas in January, Dan invited people to donate £5 to add a hand-drawn character to a sprawling crowd-scene illustration of the marathon route, turning strangers, club runners, and eventually Paula Radcliffe, pro athletes, and podcast hosts into part of the artwork. 

The conversation ranges across the collision of running and illustration, the frustration of NDA'd client work going unseen, the highs and lows of a data-obsessed relationship with Strava, and the sheer force of just asking for what you want. It closes on marathon day itself — cramp, crowd energy, and a mid-race bottle of water from Mo Farah — and on what comes next for the project.

Takeaways

• The project raised over £5,000 for Oxfam, well past the initial £2,000 target, entirely self-funded and self-run
• Dan built the crowd scene in public on Instagram, showing the process rather than only the finished piece, as a deliberate response to AI in the industry
• Two hundred characters were needed to fill the scene — a number he set himself before a single donation came in
• Getting Paula Radcliffe, Mo Farah, pro athlete Julia Paternain, and the Ellis James and John Robins podcast involved all came from cold, slightly odd, direct asks
• Frustration with NDA'd client work — and the resulting quiet in his inbox — was part of what pushed him to make something fully his own
• Running and illustration turned out to share the same trap: comparing your own work-in-progress to everyone else's highlight reel
• On race day, cramp hit from 30K onward, but the crowd — and strangers recognising their own drawn characters — carried him through
• He's already thinking about a second edition, ideally with a brand or sponsor covering the printing and shipping costs he covered out of pocket this time

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A short bonus episode showcasing a few standout moments from this week's guest interview with Eliza Williams from creativereview.co.uk ~

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Eliza Williams, editor of Creative Review, joins Radim to trace a career built without connections, without a plan, and — by her own admission — a fair amount of terror. ~

From selling popcorn at the Clapham Picturehouse to writing for free on '90s art blogs, to landing at Creative Review and eventually taking the helm, Eliza's path is a masterclass in slow, unglamorous accumulation. 

This is a conversation about leaving exclusive worlds for more welcoming ones, learning that interviewing is just "speaking to a lot of people at once," and what it really means to steward a trusted industry title through AI anxiety, brand nervousness, and a generation that expects success to arrive fast.

Takeaways

• There were no obvious career opportunities at school for creative writing — Eliza found her way in through a school magazine, a degree in English and art history, and years of low-paid, connection-less hustle
• Working in a cinema or bookshop isn't wasted time — some of the best creative instincts are built while doing something else entirely
• The art world's exclusivity pushed Eliza toward advertising and design, which she found far more welcoming, open, and friendly
• Confidence with public speaking and interviewing wasn't innate — it came from repetition, and from realising interviews are just natural conversation at scale
• The most interesting part of any story is rarely the polished end result — it's the process, the mess, and the moments things go wrong
• AI is real competition for entry-level creative work, but the bigger barrier for young creatives has always been the unglamorous, unpaid gestation period nobody teaches at university
• Brands are increasingly refusing press coverage out of fear of backlash — a shift that means the industry is failing to document its own good work
• Genuine daring in the industry comes from outliers who keep pushing, not from the safe, competent mid-level work that now dominates
• Creative Review's biggest challenge isn't relevance to its existing audience — it's finding a way to matter to creatives who are 20 years old right now

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A short bonus episode showcasing a few standout moments from this week's guest interview with Simon Dixon from DixonBaxi ~

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Returning guest Simon Dixon, co-founder of global brand and design agency DixonBaxi, sits down with Radim as the studio approaches its 25th birthday to talk about what actually holds up over a quarter of a century. ~ 

This is a conversation about comfort without complacency — how a body of work lets you meet the world with strength instead of fear, why Simon has never asked permission or had a mentor, and how "access" quietly determines who gets to be daring in the first place. 

They trace the throughline from permission to curiosity to gratitude, unpack the real difference between fear and doubt, and land on why taste, judgment, and care will matter more than ever in a world being reshaped by AI.

Takeaways

• Twenty-five years in, real confidence isn't settled or atrophied — it's comfort earned through scar tissue and decision-making
• It's easy to be daring once you can pay the rent — access and infrastructure quietly gatekeep who gets to take creative risks
• There's no such thing as a dead end or a mistake; there's only information about what you've won or haven't
• Fear and doubt aren't the same thing — doubt is the ache of growth, not a threat to survive
• Generosity and mentoring don't wait for success; Simon took on interns from day one of his career
• Growth happens in layers, not stages — self-focus, collaboration, and generosity all coexist rather than replacing one another
• Taste isn't universal — it's conviction applied to your own work, which is why Hemingway and Jane Austen can both be right
• AI won't be a tool bolted onto creativity — it will be the infrastructure everything else runs through

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A short bonus episode showcasing a few standout moments from this week's guest interview with Paloma Rincón  ~

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Visual artist and photographer Paloma Rincón joins Radim to trace a creative life built on colour, contrast, and control. Raised in Mexico City and surrounded by handcraft, tactile materials, and a graphic designer uncle, Paloma fell first for the analog darkroom, then for the still-life sets she builds entirely by hand. ~ 

She talks candidly about the shock of moving to a "monochrome" Madrid at a young age, the disciplined self-reliance it forced on her, and how a chance pairing of a disco ball and a melon became one of her most iconic images. 

The conversation moves from personal projects and happy accidents to the realities of commercial work, retouching, and surrendering control to a trusted team — closing on why she believes a distinct creative voice, not AI, will always be the thing that carries an artist through.

Takeaways

• Childhood surroundings shape creative instinct long before you recognise it — Paloma's love of colour, handcraft, and building spaces (rather than playing with dolls) runs through all her work today
• Moving somewhere "greyer" doesn't just change your surroundings — it can force a self-reliance and discipline that becomes a lifelong asset
• A signature style often lives in tension: Paloma's geometric precision sits deliberately against organic, fluid elements
• Analog training builds a physical, technical understanding of light and process that digital immediacy doesn't automatically teach
• The best juxtapositions — like the disco melon — often arrive as happy accidents inside a loosely defined creative "box," not a rigid plan
• Personal projects and commercial projects demand different relationships with control; knowing when to hold on and when to surrender is a craft in itself
• Retouching your own work can be meditative, but stepping back and handing it to others often produces a better result
• In an AI-saturated landscape, a distinctive creative voice — not the tool — remains the real differentiator

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A short bonus episode showcasing a few standout moments from this week's guest interview with Freddie Ost and Erick Kockrum from Snask  ~

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Radim is joined by Freddie and Erik from SNASK — the Stockholm-based studio that has spent nearly two decades building one of the most distinctive, daring creative brands on the planet. ~ What begins as a conversation about music, inspiration, and origins unfolds into a masterclass in conviction, values-led work, and why making enemies is the most logical brand strategy there is. From their refusal to enter awards to a client who fainted getting a tattoo at a wrap party, this episode is a full-blooded reminder of what it actually looks like to stand for something — and never apologise for it.

Takeaways

• Build your brand like a rock band — with mythology, a manifesto, and the confidence to always play last
• Standing for your values creates both enemies and fans — and that is precisely the point
• Humour is far more universal than people believe; the fear of it not landing is bigger than the reality
• Making enemies isn't risky — having no position at all is the true creative catastrophe
• Great creative partnerships work by lifting each other's ideas further than either could reach alone
• "Fuck-off capital" isn't money — it's the courage to operate entirely on your own terms
• Holding clients through unfamiliar territory requires conviction and patience, not retreat
• The design industry desperately needs voices — neutral, inoffensive work doesn't just underperform, it disappears

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Rob Draper is an artist, designer, lettering artist, and collage maker whose career has been shaped by an extraordinary sequence of reinventions. Growing up in Worcester in the 1980s, Rob was captivated by American culture, graffiti, and the visual energy of films like E.T. and Tron. ~

That early love of making things became the thread connecting every chapter that followed — from graphic design student to art director, from redundancy to sign writing, from teaching in prisons to painting coffee cups that went viral. In this conversation, recorded live at All Flows  Festival, Rob talks about the courage it takes to start over, the strange peace that comes from creating without knowing the outcome, and why being a "creative" — without further definition — might be the most honest title of all.

Takeaways:

• There is now space to simply be a creative — no single specialisation required — as long as there is a genuine thread running through your work
• Rob's graffiti beginnings in Worcester gave him confidence, community, and a visual language that quietly shaped everything that came after
• Redundancy forced a reinvention that included sign writing, teaching, prison workshops, and eventually coffee cups painted with messages that were — by his own admission — mostly aimed at himself
• The coffee cup project was never designed to go viral; it was a shop window that became a movement, built on consistency, authenticity, and small acts of showing up
• Collage was the most controversial and most creatively liberating pivot of Rob's career — uncomfortable precisely because he couldn't predict the outcome
• Creativity served as escapism at every stage of Rob's life, in both the dark chapters and the bright ones
• Rob's approach to education is rooted in simplicity: you are on one side, your dreams are on the other, and the middle is just work
• Making universally pleasing work produces the blandest possible result — finding a specific voice and committing to it is always the better path
• The greatest insight Rob carries from his career is simply gratitude — for having creativity as a tool to process, express, and survive whatever life brings

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Nada Hesham is the founder and Chief Creative Officer of 40Mustaqel, an independent design studio born and based in Cairo, Egypt. Recorded live at All Flows Festival, this conversation moves between identity, rebellion, methodology, and the deep craft of building a studio that refuses to be a factory. ~

Nada grew up in Cairo — an intense, visually chaotic city she describes as a continuous love-hate relationship — in a family of doctors and engineers. She found her way into graphic design not through natural talent, but through the logic of typography: a discipline where obsession and method matter more than innate spark. That belief — that creativity is earned through rigour rather than gifted from above — has shaped everything from how she builds her team to how she approaches a client brief.

Over five years, 40Mustaqel became the go-to studio for Arabic script-led design across the region. But Nada is already restless with that success, pushing her studio into new territory: sculptures, exhibitions, publishing, and a deeper interrogation of what it means to decolonise design beyond the script's surface.

Key takeaways:

• Creativity built on method and obsession outlasts creativity built on talent
• Cairo's visual chaos is not a limitation — it is a creative inheritance worth claiming
• The research phase is where regional and cultural influence truly lives in a project
• Hiring small and intentionally protects the intimacy and quality that makes boutique studios thrive
• Leadership is orchestration — knowing who in your team holds which genius is the real skill
• Decolonising design is a process question, not just a visual one
• Being known for something is the first milestone; outgrowing it is the second
• The Trojan horse strategy — delivering what a client expects while quietly changing what they believe — is how cultural shifts happen

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A short bonus episode showcasing a few standout moments from this week's guest interview with Mat Voyce ~

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In Episode 50, Radim sits down with Mat Voyce — type animator whose kinetic, character-driven lettering has earned him a devoted following and a client list most freelancers would dream about. What starts as a conversation about craft quickly becomes something more personal: how a self-described jack-of-all-trades with middle-of-the-pack grades found his calling through animated type, and how the pressure of building something real collided with the weight of anxiety that nobody could see from the outside.

Mat traces his journey from childhood TV binges and PlayStation nights to architecture illustrations sold as wall art, to the type pieces he built in the evenings while still holding down a day job — quietly constructing the career he wanted, frame by frame. He talks about the boss who saw it coming and gave him the conversation he needed to leave, the freelance runway he built before making the leap, and the daily discipline of stepping up his personal work each year so clients keep finding him.

But the episode's most powerful shift comes when the conversation turns to anxiety — and Mat's decision to go public about it. What he got back wasn't what he expected: an outpouring from designers and creatives who'd been quietly carrying the same thing. His honesty didn't just help him. It opened a dialogue that changed how he understood himself, his community, and what it means to show up fully in creative work.

Takeaways:

• Being a jack of all trades isn't a weakness — it's a toolkit in progress. Every skill you collect compounds into something no single-track path could build.
• The evening sofa session matters. Doing your own work after a full day's work is how you invent the future version of your career.
• Building freelance backing before you quit creates both security and clarity. When it lines up, the leap isn't reckless — it's ready.
• Knowing what jobs to say no to is as important as being good at the jobs you say yes to. Staying in your lane protects your quality and your passion.
• Personal projects are the engine of growth. Each year Mat steps his own work up — new formats, new layers, new challenges — and clients follow.
• Sharing your struggles in public can unlock the real information that therapy and Google can't give you. Community is the most underrated resource a creative has.
• Anxiety is gradual, cumulative, and often invisible from the outside. Recognising it early — especially with a supportive partner — is what makes it manageable.
• Medication isn't failure. For Mat, it was the first thing that actually worked — and the honesty about it helped more people than any type animation ever had.

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A short bonus episode showcasing a few standout moments from this week's guest interview with Elana Rudick ~

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Montreal-based creative director and founder of Design is Yummy, Elana Rudick, returns to the podcast for the first time since season one. With twenty years in the industry and a new talk on the horizon, Elana joins Radim to explore what it really means to make design human — from the studio floor to the stage. 

They cover the rollercoaster of running a creative studio post-pandemic, why slowing down your thinking is the new competitive advantage in an age of rapid AI execution, and what happens when a chocolate bar becomes your CV. 

Elana's new keynote, "The Shift to Human: Reconnecting with What Matters," gives this conversation its spine — a call to bring soft skills, relationship-building, and radical accountability back to the centre of creative work.

Takeaways

• Post-pandemic unpredictability has forced creative studios to diversify and pivot — and that pressure, uncomfortable as it is, makes you better
• Thinking and execution are separate skills; as AI speeds up making, the quality of your thinking matters more than ever, not less
• Sitting with work before presenting it — resisting the rush — is a discipline that consistently produces better outcomes and deeper client trust
• Accessible tools haven't removed the need for designers; they've changed the conversation that happens before a brief even arrives
• Soft skills — communication, empathy, relationship-building, curiosity — are the most transferable assets any creative can carry into an uncertain future
• Calling three people a day throughout the pandemic built some of Elana's most enduring and trusted professional relationships
• Daring doesn't need to be loud or gimmicky — it just means stepping outside your own comfort zone, whatever that looks like for you
• Showing up as your best self is the foundation; the work, in whatever form the future demands, will follow from that

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A short bonus episode showcasing a few standout moments from this week's guest interview with Murugiah ~

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Murugiah returns to Daring Creativity for a conversation that feels like watching someone step fully into who they were always meant to be. 

A multidisciplinary artist trained in architecture, living and working in London, Murugiah has spent the years since his last appearance developing a deeply personal body of work — acrylic paintings that fuse his digital aesthetic with a new emotional rawness, rooted in his Sri Lankan heritage and shaped by a decade of intentional craft. ~

 One email to the Quentin Blake Centre for Illustration led, against all expectations, to an invitation to open the entire centre with his debut solo exhibition.

This is a conversation about patience, pursuit and the quiet power of just doing the work — without waiting for permission, without chasing the outcome, and without needing the world to show up before you get started.

Key takeaways:

• Creating your own opportunity is not a strategy — it's a mindset. One email sent from a place of genuine excitement changed the entire trajectory of Murugiah's career
• Emotional heft takes time. The years spent developing a visual aesthetic were necessary before the personal, introspective work could emerge
• Following the fun keeps you present. When imposter syndrome strips you of the now, curiosity and play bring you back
• Tactility is a response, not nostalgia. Moving into acrylic painting was a deliberate turn towards what AI cannot replicate — intuitive, human, physical decision-making
• The journey is the reward. The hours at the table, the meetings, the exchanges — those are what you carry. The response to the work is secondary
• Radical empathy fuels introspection. Putting yourself in someone else's shoes — even a bus driver's — creates the internal awareness that feeds deeply personal work
• A debut doesn't need to come early to matter. Coming to it at 38, with a full life behind him, made Murugiah's show richer and more resonant than speed could ever have allowed

Daring Forever. Podcast with Radim Malinic

daringcreativity.com |  desk@daringcreativity.com

Books by Radim Malinic Paperback and Kindle > https://amzn.to/4biTwFc
Free audiobook (with Audible trial) > https://geni.us/free-audiobook
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A short bonus episode showcasing a few standout moments from this week's guest interview with George Wu and Malika Favre (icantaffordthisbutmaybeshecan) ~

Daring Forever. Podcast with Radim Malinic

daringcreativity.com |  desk@daringcreativity.com

Books by Radim Malinic Paperback and Kindle > https://amzn.to/4biTwFc
Free audiobook (with Audible trial) > https://geni.us/free-audiobook
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Malika Favre is one of the most recognisable illustrators working today — a master of bold geometry, reduced palettes, and images you feel before you decode. George Wu is a graphic designer, event director, product creator, and by her own admission, a jack of all trades. Together, they created I Can't Afford This But Maybe She Can — a curation account that started as a private joke between two best friends and grew into a 350,000-follower community, a newsletter with a 70%+ open rate, and a full concept store with over 300 products from 90 independent brands worldwide.

This conversation captures why that happened — and what it actually takes to build something meaningful without a business plan, a marketing budget, or any intention of selling out.

Key Takeaways

• Friendship is a creative force. Malika and George's decade-long friendship is the foundation of everything — the trust, the honesty, and the courage to post without approval-seeking.
• Curation is care made visible. Their process — going down rabbit holes, translating Japanese craft websites, following follower trails — shows the difference between sharing and truly giving a damn.
• Ego is the first thing to go. George's journey from curating for approval to posting freely mirrors a shift every creative needs to make at some point.
• Innovation vs. perfection isn't a conflict — it's a team. George chases the new; Malika pursues the perfect. Their output is both.
• Building outside the algorithm is an act of resistance. No reels, no faces, no sponsored clutter — and 350k people followed anyway because the care was unmistakable.
• Monetising without compromising is the hardest part. The shop, the newsletter, the auction house commission — each step has been deliberate, values-led, and brutally honest about what isn't working yet.
• The last mile is rarely crowded. Their willingness to go further — to find the fourth-generation kite maker in Japan, to contact every one of 90 brands individually — is exactly why their audience trusts them.

Daring Forever. Podcast with Radim Malinic

daringcreativity.com |  desk@daringcreativity.com

Books by Radim Malinic Paperback and Kindle > https://amzn.to/4biTwFc
Free audiobook (with Audible trial) > https://geni.us/free-audiobook
Book bundles  https://novemberuniverse.co.uk

Lux Coffee Co. https://luxcoffee.co.uk/  (Use: PODCAST for 15% off)
November Universe https://novemberuniverse.co.uk (Use: PODCAST for 10% off)

A short bonus episode showcasing a few standout moments from this week's guest interview with PJ Richardson from Laundry Studio ~

Daring Forever. Podcast with Radim Malinic

daringcreativity.com |  desk@daringcreativity.com

Books by Radim Malinic Paperback and Kindle > https://amzn.to/4biTwFc
Free audiobook (with Audible trial) > https://geni.us/free-audiobook
Book bundles  https://novemberuniverse.co.uk

Lux Coffee Co. https://luxcoffee.co.uk/  (Use: PODCAST for 15% off)
November Universe https://novemberuniverse.co.uk (Use: PODCAST for 10% off)

In this special live episode recorded in front of an audience at OFFF Barcelona 2026, Radim sits down with PJ Richardson — ECD and co-founder of Laundry, a motion design studio based in LA and San Francisco — to pull back the curtain on one of the most ambitious creative projects of the festival: the OFFF 2026 opening titles, the nine-and-a-half-minute projection mapping piece that lit up an entire building and stopped the crowd in their tracks. 

PJ Richardson takes us inside the full arc of that creative journey — from the initial spark of ambition, through the chaos of experimentation, to the emotional moment of standing outside watching it play with his friends and peers.

This conversation is about far more than motion design. It's about daring to ask, the courage to collaborate, the willingness to sit with discomfort, and the decision — every single day — to challenge the status quo with joy.

Takeaways:

• Asking is its own creative act — PJ emailed Pep for three consecutive years before the timing aligned. Persistence without pressure eventually becomes a possibility.
• Say yes, then figure it out — Laundry's working philosophy of committing first and problem-solving second is what makes ambitious work happen at all.
• The process is the art — PJ's conceptual framework for the titles treated the journey of creativity itself as the subject matter, not just the output.
• Failure is the raw material — every experiment that didn't work became the foundation for the one that did. A thousand failed attempts led to one defining idea.
• Collaboration is a cheat code — bringing in friends like Alex Liou, Alejandro R. Meija, and Josh Pierce wasn't a compromise; it was the creative multiplier that made the whole thing possible.
• Challenge the status quo with joy — PJ's guiding theme for the titles, and for his creative life: the hard work is worth doing, but the intention to enjoy it matters deeply.
• Community is the celebration — the moment the piece felt truly finished wasn't in the edit suite. It was standing outside in Barcelona with peers, watching it on the building together. .

Daring Forever. Podcast with Radim Malinic

daringcreativity.com |  desk@daringcreativity.com

Books by Radim Malinic Paperback and Kindle > https://amzn.to/4biTwFc
Free audiobook (with Audible trial) > https://geni.us/free-audiobook
Book bundles  https://novemberuniverse.co.uk

Lux Coffee Co. https://luxcoffee.co.uk/  (Use: PODCAST for 15% off)
November Universe https://novemberuniverse.co.uk (Use: PODCAST for 10% off)

A short bonus episode showcasing a few standout moments from this week's guest interview with Dora Drimalas from Hybrid Design ~

Daring Forever. Podcast with Radim Malinic

daringcreativity.com |  desk@daringcreativity.com

Books by Radim Malinic Paperback and Kindle > https://amzn.to/4biTwFc
Free audiobook (with Audible trial) > https://geni.us/free-audiobook
Book bundles  https://novemberuniverse.co.uk

Lux Coffee Co. https://luxcoffee.co.uk/  (Use: PODCAST for 15% off)
November Universe https://novemberuniverse.co.uk (Use: PODCAST for 10% off)

Dora Drimalas, co-founder of San Francisco design studio Hybrid, joins Radim to explore what it really means to build a creative practice grounded in genuine, unfiltered curiosity. ~ 

Over 24 years, Hybrid has refused to specialise — working instead across branding, campaigns, books, and environments for clients from Nike to Lego — and Dora explains why that deliberate refusal to narrow down has been the studio's greatest creative strength. 

From their formative years at Nike, where fearlessness was the culture, to the making of their debut monograph Curiosity in All Things — a 650-page love letter to design, process, and inspiration — this is a conversation about building the conditions for great work, asking bigger questions, and creating without fear.

Takeaways

• Specialising might be better for business, but diversifying is better for creativity — and Hybrid chose creativity every time
• Fertile conditions for good work require a mix of personalities, backgrounds, disciplines, and points of view — creative biodiversity is non-negotiable
• Clients often lock down possibilities before the conversation has even started — a great creative's job is to reopen them
• The Nike years were grad school for design: fearlessness, cross-medium storytelling, and throwing people into projects they weren't yet qualified for
• Being on the outside as an agency lets you cross-pollinate ideas across industries — that is an advantage in-house work can never fully replicate
• A monograph is not just a portfolio — it's a record of thinking, process, relationships, and the inspiration that makes the work possible
• You can make beautiful work on small budgets; it costs exactly the same to print ugly as it does to print beautiful
• Stepping back as a leader — and letting others grow into their roles — is its own form of creative satisfaction

Daring Forever. Podcast with Radim Malinic

daringcreativity.com |  desk@daringcreativity.com

Books by Radim Malinic Paperback and Kindle > https://amzn.to/4biTwFc
Free audiobook (with Audible trial) > https://geni.us/free-audiobook
Book bundles  https://novemberuniverse.co.uk

Lux Coffee Co. https://luxcoffee.co.uk/  (Use: PODCAST for 15% off)
November Universe https://novemberuniverse.co.uk (Use: PODCAST for 10% off)

A short bonus episode showcasing a few standout moments from this week's guest interview with Pablo Juncadella from Mucho ~

Daring Forever. Podcast with Radim Malinic

daringcreativity.com |  desk@daringcreativity.com

Books by Radim Malinic Paperback and Kindle > https://amzn.to/4biTwFc
Free audiobook (with Audible trial) > https://geni.us/free-audiobook
Book bundles  https://novemberuniverse.co.uk

Lux Coffee Co. https://luxcoffee.co.uk/  (Use: PODCAST for 15% off)
November Universe https://novemberuniverse.co.uk (Use: PODCAST for 10% off)

Pablo Juncadella is co-founder and partner at Mucho, the Barcelona-based branding and identity studio approaching its 25th year. In this conversation, Pablo traces a career built on unlikely advantages — dyslexia, collective thinking, and an editorial background that taught him to treat brands as stories told in headlines. ~

From working on El País at 22 through Pentagram London, to becoming creative director of The Observer at 25, to building a studio with offices across Europe and the US, his path has been one of constant curiosity, deliberate humility, and a refusal to lower the standard of what design can do.

Takeaways:

• Creativity is not visualisation — it's the ability to see from a different perspective and bring others there
• Dyslexia, and conditions like it, place you naturally outside the majority — that position is the seed of creative advantage
• Ideas are preludes, not destinations — falling too in love with one prevents the better version from arriving
• The best early careers involve challenges larger than your current capability — that gap is exactly where you grow
• Collective intelligence outlasts individual ambition; a studio with its own identity can evolve beyond any one person's needs or energy
• Client satisfaction is a baseline, not a ceiling — the real job is to hold higher standards than anyone asked for
• Frustration is not a sign of failure — it's the engine that keeps the standard from quietly dropping
• Visual language is the most universal language; use it to bridge cultures, industries, and disciplines
• Design builds on what came before — your job is to contribute to the wheel, not just spin it
• Longevity comes from curiosity, adaptability, and the willingness to learn from the person sitting across the table

Daring Forever. Podcast with Radim Malinic

daringcreativity.com |  desk@daringcreativity.com

Books by Radim Malinic Paperback and Kindle > https://amzn.to/4biTwFc
Free audiobook (with Audible trial) > https://geni.us/free-audiobook
Book bundles  https://novemberuniverse.co.uk

Lux Coffee Co. https://luxcoffee.co.uk/  (Use: PODCAST for 15% off)
November Universe https://novemberuniverse.co.uk (Use: PODCAST for 10% off)