Transcription
If you wanna upgrade your brand and play in the pros in the music world, there's one thing you need to unlock: Superfans.
Superfans are what hold up the biggest music brands in the world, and very few artists have built a cult-like base of superfans the way Skrillex has. Because superfans don't just watch your content or come to your shows, they become brand ambassadors and rep your brand like it's theirs.
And there's a hidden method used to create superfans that goes beyond a logo, posting content, or cool collaborations, and Skrillex has built his whole world around this method. Because of that, he now embodies the dream so many artists are chasing: one of creative freedom, financial freedom, travel, and the ability to move through the world entirely on your own terms.
So the real question is, how did he do it? Many will say it's his music alone. But after working with him directly and seeing how the sausage is made and how he thinks, I don't think that's entirely true. The music is obviously a piece of it, but it's not the whole puzzle.
The Skrillex brand as a whole is a masterclass in storytelling and brand positioning from every angle. The sonics, the visuals, the character, the emotion, the moments, the world-building, and a singular point of view, all of this leads to one destination.
Now, of course, this is subjective, but so many people I've encountered will simply say the Skrillex brand is cool. And this isn't by accident. Skrillex has cool down to a science. And today, I'm gonna break down that science, and I'm gonna show you how the house of Skrillex is built, a house designed for superfans and a brand that can evolve through multiple eras without losing its center.
We'll look at the setup, the pieces, the psychology, the architecture, the creative decisions, and how all of it comes together to form a story, a world, and a movement. Because once you understand how a brand like this is constructed, you can use the same thinking to build your own.
But before we dive in, who am I to even talk about this? My name is Chris Alba, and for the last 13 years, I've been a creative director and brand strategist for some of the more well-known names in music, as well as sport and luxury fashion brands. With my studio, The Cult Creatives, we've been a part of global campaigns for brands all over the world. We've done tens of millions of dollars in business and have been blessed to work alongside the top creatives and strategists in the world, learning side by side how to build strong brand narratives and attempting to execute at the highest level.
And funny enough, before I moved into the agency world and how I got my start is I existed as a DJ producer in the dance music space from 2005 to 2017. I was mostly just a DJ from 2005 to 2010, but around 2010, I started really getting into electronic music production. I played multiple instruments growing up but never recorded any music of my own. I was mostly focused on the art form of DJing and then record collecting.
But at the same time I got into production, I was throwing a weekly party with some friends at the Avalon theater in Hollywood. The party was a successful LA staple, and it ran every week for 10 years. And in this 2010 era, artists like Skrillex or Dillon Francis were playing the smaller side room in the front of the club.
My manager happened to know Skrillex's manager, and he suggested that we do sessions together. At that time, he was doing major label remixes for labels like Interscope. So my management set it up, I go to Sonny's, and the first time we hung out, he was working on a remix for "In for the Kill" by La Roux. He's showing me what he did on the remix and asking my opinion from a DJ's perspective. I give him notes and thoughts and- I also tell him that I'm getting into production myself.
And towards the end of the hang, I ask if it would be okay if I could take the stems from that La Roux session and then practice with my own production. He says yes, I then nab the stems, I go home, and I go to work on the production. I end up making some kind of terrible remix because I'm just getting started, but I am interested to take it back to him and get some feedback.
So I go back to his place knowing what I'd made wasn't great, but this is where the story gets interesting. Sonny actually loved what I wrote and said we should send it to Interscope. I was shocked and surprised because with my DJ knowledge and ear, I knew the track was interesting, but it wasn't great. But Sonny, being who he is, insisted we send it to them. I ended up agreeing, thinking that maybe since they liked him and what he was doing, that maybe they'd remember me later.
We ended up sending it to Interscope later that day. And then the very next day, I got a call from Dave Rene, who was overseeing some of the remix packs at the time at Interscope, who actually ended up becoming Zedd's manager years later. But he heard the remix and he loved it, and he wanted to sign it. Again, I was in shock, but I absolutely agreed. Then he said, "We're giving Sonny another remix to do. Would you also want to try that one?" I agreed to that, made something, and they amazingly signed that one too. So not only was this super gratifying and confirming, it was also life-changing for me as an artist, and I'll forever be thankful to Sonny and Dave for that.
So then Sonny and I became very friendly in this time, and we're hanging out and doing sessions here and there. It was great because he lived right across the street from me. But his setup at the time was pretty low budget, and even with his main setup, one of his monitor speakers, one of the little KRKs was blown. That alone shows the genius of this guy early on. He was making what he was making on a budget broken setup.
But he would come over to my place to test out different mixes because I had newer monitors, and I think I actually have a USB floating around here somewhere that has a version of "Scary Monsters" that's not the version that came out, but it's around here somewhere. But this is where this part of the story becomes super important with today's topic.
In this time when we would hang and write, Skril and I would talk about life, music, creativity, and I got to hear and see up close how he was thinking about his art. And he did have a unique perspective and some magic keys in his approach, which I'll get into later in this video. So when I do today's breakdown, it's not just an assessment from a distance. I am looking at his brand from a creative direction and brand strategy perspective, but I'll also be explaining it having that personal relationship perspective.
So story time over. Let's get into the Skrillex brand and look at the sheer power of a brand like his. I've personally seen so many times how an artist's career can change almost overnight just by launching a new brand identity and brand position. We actually have a free brand playbook with blank slides that you can use to define elements for your own brand. If you want that, comment "cult brand playbook," and we'll comment back and send you the document for free.
So the way I'm gonna organize today's video is we're gonna use the analogy of building a house. And when you look at building the house of Skrillex, the first thing you need to know is where you're trying to build.
Step one, the land. Decide where to build. So we're gonna look at Skrillex's brand, but I'm also going to explain how you can do this for yourself. So in this analogy, we're looking for the land we're gonna build the brand's house on. The way to think about this is generally, where are you trying to go with the brand? Where does it exist? If it were a movie, what kind of genre is it? Is it a horror movie? Is it a thriller? Is it an art house film? Before you build anything, you need to have a rough sense of where you're trying to go. You don't have to have it fully figured out, just some sense of direction.
If you don't have this figured out yet, a great exercise can be making a list of your favorite things: your favorite movies, shows, favorite albums, favorite songs, favorite artists, or favorite books. I like doing it either in a larger sketch pad so you can see it all in one page, or if it is digital, it's some sort of document where you can have different columns that have your different favorite things. So when you have it all laid out, you're looking for patterns. You might see that most of the stuff you like is either darker or more emotional. Or maybe you see that a lot of your favorite things revolve around concepts of rebellion or freedom. Maybe most of what you love is comedy-based. Whatever it is, when you analyze this list, you're actually analyzing yourself and your taste.
When Sonny and I would talk about his taste and the things that he liked, there was a lot of variety there, but what was interesting is most of the stuff that he liked was often pretty different and unique. It was usually the weird thing or the weird song. It wasn't the straight up the middle mainstream type art. Whether it was movies, music, music videos, or clothes, the stuff that he liked was different. And a big distinction about him and his way of thinking is that early on, I felt a sense he wasn't trying to be someone else, and this is rare for new artists and new producers. Often, you're just mimicking your heroes. But for him, he was forming his own point of view. And it may sound cheesy, but when you're thinking about the sandbox of the brand you're trying to create, you need to look inside yourself. Don't look at what other people are doing. Gauge your own taste.
For Sonny in that early era, he had his pop punk metal background that was part of the From First to Last days, but he also had a newfound love of the UK underground bass scene, French touch, and because we were in Los Angeles, the inspiration of LA's underground electro and hipster scenes. None of the art he liked or the scenes that he was in were super mainstream. There definitely was some pop influence, but even the pop he would reference would be cooler pop artists. So he was using his taste and experience to inform the kind of music he was making and the kind of brand that was forming. Instead of going hard on one sound or one scene, he merged them together.
So this becomes where the house of Skrillex will be built. It would be built on a plot of land that represented cool, and in the Skrillex world, cool meant different, weird but in a good way, unique blends, merging energy and emotion. So this creates the place of where to build and the themes to build around it. And whether it's conscious and intentional or subconscious, the greatest artists in the world in any medium find a set of rules that become their taste and their point of view. They know very clearly the land they're building their house on, and if their brand grows, sometimes that single house can become a whole city.
So for your own brand, the question becomes: what world does your music actually belong to? Not what scenes are you trying to copy, but what emotional and cultural land are you trying to build on?
But while knowing where to build is where it all starts, before you can build anything, you'll need the blueprints of exactly what the house is going to be.
Step two, the blueprints define the character. So before you create anything, you need the high-level blueprints on your house. Otherwise, you're gonna be hammering pieces together that may not actually build anything. If your brand was a movie, which I believe that it is, an outline of the script and its characters is gonna be needed before you shoot anything.
If you've seen my other videos on the Neighbor to Arts by channel, you know that a big part of our process at Cult is defining the brand's archetype and the archetype blend. There was a Swiss psychiatrist named Carl Jung who came up with 12 personality archetypes that lay out how we as human beings organize how we understand other people. We put them into boxes based on archetypes. This comes from the idea that long before we were a global tribe of people connected through technology, humans existed in small tribes, and in those tribes, this is how the human mind would understand the other people in the tribe. The brain would group them into buckets to make it more simplified. For example, the brain may subconsciously think, "This is one of the warriors of our tribe, one of our heroes. This is the shaman or the magic man of our tribe. This is the king or the ruler. This is the funny guy, the comedian, the jester."
So defining your brand archetype makes it easy for the audience to understand your point of view. This organizational technique is used in all kinds of storytelling. It's like understanding a character in a movie and that character's point of view and motivations. There's a longer video on the Neighbor to Arts by channel that goes more in-depth on this, but this is the concept at the high level, and we use it on every brand we build.
So what is the archetype for the Skrillex brand? A brand built on being different, unique, standing out, doing your own thing against what's popular, and chasing your own creative freedom. So for a personality like this, it fits the characteristics of a rebel archetype. I personally don't love that the archetype is named rebel or outlaw because it can feel more motivated by rebellion or chaos. But what the rebel archetype is really motivated by is freedom and chasing freedom. The rebel wants to do what they wanna do, and if you try to cage them, they'll break free. A rebel is the type of brand that if they show up to an all-white party, they're likely wearing all black. They're aware that they're wearing all black, and they're confident in doing so.
Now, is this the only archetype inside the Skrillex brand, or is there a blend? Well, in the Skrillex brand, it's not only rebellion for rebellion's sake. It's done through creativity and being creative in multiple art forms: music, video content, short films, performances, and activations. So the other archetype within our blend is the creator. The Skrillex archetype blend is the rebel creator, an archetype that uses creativity to find their own freedom.
So for your own brand, this becomes the question: What is your archetype, or what is your archetype blend? Because the character archetype informs so much about the style of house that you're going to build. It gives the brand its point of view for the audience. But what makes the brand really connect with people is defining what the brand stands for and what the brand stands against.
Step three, the foundation. Build the brand's belief system. So another part of our process at Cult when we're brand-building is we define a brand's belief and value system, and we also have another video on how to define your brand's foes, which pairs nicely with the brand beliefs video, and either would be a good watch after this. Because defining what your brand stands for and what it stands against is crucial in the brand-building process.
Very often with music artists, there's so much emphasis put on the music itself that there's no real belief system, and without those values and their meanings, the brand can feel soft. It's like an action movie with no story. For all the different creative conversations you're gonna have, you need to create a set of rules used to make those decisions. You're asking yourself, "What is the foundational approach to how the brand will be built?" And defining the ideology and the rule book can be extremely helpful.
Some brands will actually have hard copy rule books defining these elements, and then other brands just know them inherently. But regardless, the rules are defined and the rules are clear, and often, artists that are struggling with their brand haven't defined these rules. They're just freestyling the process, and they go in a bunch of different directions with decisions based around what they like or what they're inspired by at the moment. This is like building a house with no blueprints. You go into the house, and you start hammering wood with no idea what you're doing. You need to have a clearly defined plan, defined architecture, and one central place to build from.
For example, some brands are built on relatability. Some are built on status. Some are built on comedy or laughter. For the Skrillex brand, his central place where he's building from is built on freedom, creativity, and cool. So this means that the rules of cool to him define his brand architecture.
So the rules of cool for Skrillex could be something like this, and some of these are pulled from things that he's said publicly, some are pulled from conversations we had together, and then some are my assessment as a brand person:
So rules of cool, rule number one: success is something you attract, not something you chase. First rule is to put it on you, not them. Instead of trying to break into other houses and scenes, build your own and attract people in. The opportunities will come once you do.
Rule number two: if everyone is headed one way, look the other direction for inspiration. This has been a rule of cool since the phrase was invented. If everyone in the status quo is wearing skinny jeans, baggy then becomes more unique. By wearing baggy confidently, you stand out more and embrace being different. For Skrillex, when everyone was doing huge productions with big LED walls and CGI, the cool thing to do was to go more real. No big graphics or visuals, basement set. The opposite of big, raw, human, intimate. This has been a core part of his thinking from the beginning.
Rule number three: don't try to make hits. Make music that is a part of the conversation and hopefully moves culture forward. Skrillex has a completely different philosophical approach when it comes to making music. Through the years, meeting artists from all over the world and asking why they do it, every artist is different, and they do it for different reasons. Some do it for the love, some do it to make money, some do it to be recognized and feel seen, and some do it because they can't imagine doing anything else. And none of these are better or worse. It depends on the artist and what they're looking for in the act of making and sharing music. But for Skrill, he's always been big on culture, and for him, hits are great, but that's not why he seems to do it.
Rule number four: there's ways to mix above ground with underground and the in-between. Skrillex likes what he likes, whether it's American pop, UK-based underground, hip hop, jungle, or rock. To him, it's more in the idea. He's asking himself if he likes it and does it feel cool. And in the house of Skrillex, you can mix whatever you want, as long as it makes you feel something, and as long as it's cool.
Rule number five: where possible, attach yourself to cool things and people and try to avoid uncool things and uncool people. In recent years, Skril is collaborating with Fred Again, Iso xO, or Night Punk. To him, this is the next wave of cool, and he's been doing this from the beginning with artists like Zedd, Porter Robinson, A$AP Rocky, or Valentino Khan. These collaborations were a big part of setting the room that his brand would sit in and who he would sit next to.
Rule number six: earning wisdom, learning, and developing technique is cool. Be a student of the game. Trying is cool.
Rule number seven: be real. So much of the music world has brands that are facades built on sticks. It's like the sets on a Hollywood back lot. The front and what faces out looks amazing, but then when you peek behind, you see that there's nothing there, just thin sticks with no depth. A big part of getting people to bond and connect with you is being real. However creative your project is, let them know there's a real artist and a real person behind it all. Be a real human being.
And rule number eight: be yourself. Don't look at other things or think about how people see you. Train your mind to chase your tastes. Find what's true to you. As an artist or a creative person, your tastes are everything. No matter how weird, unique, controversial, your taste is your taste, even if certain people don't like it.
Being in the creative arts, one of my favorite things is when I have a meeting with someone that's maybe a longtime industry veteran, and they tell me something won't work. They're adamant that the new thing that I'm presenting won't work because it hasn't been done. That always clues to me that there may be something interesting there. Some of the best art ever created was made from someone's deep belief in their taste and their point of view, and it wasn't supposed to work. There was no way to prove that it had been done before, and that new thing that you're making won't be for everyone, and it shouldn't be. It should be meticulously made for people who have the same taste as you. Even from the early days, Skrillex kept this as one of his rules.
So you can see how the game that Skrillex is playing may have a different rule book than many other artists in the industry. His approach is just different, and by having a different approach, he's getting different results. He doesn't break his rules. He doesn't fold under pressure, and this is part of why people feel the way they do about his brand.
So the learning here, and then the question for you, is: what foundation is your brand built on? What is the brand's value system? So for example, maybe your brand is built on truth like Kendrick Lamar, and if it was, you'd wanna define what are the rules of truth in your world? Or maybe your brand is built on power or aggression like Metallica, so then you're asking, what are the rules of power in your world? Or maybe your brand is built on love, romance, or heartbreak like Usher, and if that's the case, you're then asking yourself, what are the rules of love in this world? And once you have those rules, you now have the main elements of your foundation, and now it's time to create the story that the audience is gonna follow along with.
But before you begin to share the brand story, you need to define what the story will be about.
Step four, the floor plan. Choose the story structure. So as we go further into the design of our house, we'll start to map the experience and the flow of how people will experience it. At a high level, what's the layout? What's the floor plan? What's the structure here? I'll keep this section a bit shorter, but we have another video on the Neighbor Arts supply channel that goes deeper into how to define your story and your brand's plot.
When choosing a plot structure for your story, we're gonna reference Christopher Booker's book, "The Seven Plots." Booker spent 30 years of his life studying all kinds of stories: ancient stories, biblical stories, mythological stories, Hollywood movies, and Shakespeare. And what he found in that 30 years of research is that there's only seven main plot structures when it comes to story. Those plot structures are the following: overcoming the monster, rags to riches, voyage and return, the quest, comedy, tragedy, and rebirth.
So then back to Skrillex. For his brand plot, it's been the quest. It's a quest trying to find creative freedom in a world trying to define you, put you in a box, and cage your creative energies. An ongoing quest to find the moments in the art that inspire you. I mean, he even has an album called "Quest For Fire."
Defining your brand's plot helps you create structure around what the story will be about. So then the question becomes: what is your brand plot? And then once you have that defined, it's almost time to start building the house. But a key part of making sure people understand what you're trying to build is the mood boarding process. What are the references and materials that you're going to build from?
Step five: the materials. Gather the references. So what pieces and references are you gonna use to build your brand? Before you can build your house, you need to know the materials you're gonna build with. And because you've done all the other exercises and defined the high-level elements of the story and architecture, this part becomes much easier.
The first thing you'll do is define the core themes for this era story-wise. Those themes should carry into the visual language and the sonic language of this era. So to look at the mood boarding phase of the build, let's first go back and look at the themes from when we first met with the "My Name Is Skrillex" and "Scary Monsters and Nice Sprites" creative era.
At this time, there was a specific look to dubstep and bass music scenes. Artists like Excision or Downlink had more robotic, space-oriented 3D style art. There was a French touch sound of Daft Punk, Justice, and Ed Banger Records. The cover of the Justice + album was minimal and clean with a single shape. In dance music at the time, you had artists like Deadmau5, who were inspired by electronic and glowing light themes and elements. And then in rock or thrash metal, artists like Anthrax had artwork and a logo with edge, sharp lines, and a punk feel. All this inspiration found its way into the Skrillex EP cover designs and logo.
Another part of the visual identity that was big for the brand was the power of his personal look and styling during this era. He was merging rock, pop, hip-hop, computer music, and cool underground street culture, and his look reflected this kind of hybrid taste and point of view. The audience could connect with how the brand looked. And even in this early era, whether it was artwork or music videos, Skrillex was working with other creative artists to bring his visions to life. And this is the power of knowing your brand, understanding its positions and values, and then making mood boards against the current era. The mood boards are how you convey your ideas to the other artists that are gonna help you bring your vision to life. And a big note here where I've seen so many mood boards go wrong is that they have too many elements on the boards themselves. It not only becomes confusing for you, it's confusing to your collaborators. So keep your mood boards tight and keep the vision concise.
So then once you have your mood boards, you're ready to start creating and designing. And this next step is where the house fully comes together and the secret of the super fan starts to take shape.
Step number six, the front door. Shape the first impression. Okay, so now you're building, and what are the main elements needed to launch the brand? You'll need the logo, press photos, content videos, and a rollout strategy. So now using Skrillex as our case study, let's fast-forward and let's look at the visual themes from his latest release, "Soma."
From "Scary Monsters" to "Soma," there was a lot of evolving that happened. His style changed, his hair got shorter, the beard came. He grew up and so did the brand. So let's look at the current era in terms of execution, and I'll break down how this is a masterclass in going left when everyone else goes right.
In creating the front door of an experience that the audience is gonna step inside, for "Soma," the rollout and promotion was anti-traditional. It revolved around a concept of less is more. It was intentional minimalism. The front door to this house was mysterious and evoked curiosity. No label campaign, no press run, no pre-save links, no track breakdowns. The album drops on June 5th with no real warning. A few days before the drop, he posted the album title with a full 13 track track list on his stories, which because it was IG stories, it disappeared in 24 hours. That subtle moment was the album announce. Reddit, Discord, and various social channels lit up with discussions.
So while everyone else is looking at promotion as a volume game, how much can we do, Skrillex and his team are asking the opposite: How little can we do, and how much impact can that have? Now, many of my videos on the Neighbor Arts Supply channel deal in how to earn insights on branding, storytelling, and growing your artist brand by studying how other brands have been successful. But I definitely wouldn't recommend if you're a new artist announcing your album on stories and expecting it to set the internet ablaze. Skrillex can do this because he has 17 years of brand equity and fans built up. There's an army of super fans that are gonna take that one post and take it out to the world.
But what you can take from this is the part of his rules of cool. If everyone is headed a direction, the opposite direction may be the cooler move. And part of the rules of cool were the strategic performances revolving around the album. Instead of announcing a 200 show world tour, it was a small amount of key performances. And for those performances, the stage design was minimal, a focus on the logo and lighting, no huge LED wall, no time-coded moments, real and raw energy.
So then let's look at if everyone goes left and you go right, how does that play into design? So much of dance music is loud and colorful when it comes to art and design. Currently, there's a heavy use of CGI and AI art, as well as bright colors and elaborate graphic design. The cover of "Soma" uses none of these things. It's a minimal photograph that plays into the Skrillex brand. It's shot in a style that feels real. No titling, no bright colors. He changed his default images to be photos of the mirrored broken glass version of his logo.
A month and a half before the album drop, he releases "Juro" with Young Miko. There's a visualizer/music video on his YouTube which features live performance visuals. It's a simple video that looks mostly to be shot on a DSLR camera, and it's just capturing hangout moments between the two. Skrillex has the ability to go much bigger than this, but he's choosing not to. The look of everything around "Soma" feels raw. The typography is minimal, and so are the photo and video captures.
In this era for Skrillex, the front door of his house is feeling real, human, and raw, and it continues to stand on its foundations of cool, being different, and chasing creative freedom. So the question to ask yourself here is: what does the front of your house look like? Before you invite people in, you need to set the stage. And where many artists struggle is that the inside of their house and their music might be great, but the exterior experience of how the brand shows up in the world doesn't show that. So set the stage for them to come in, but once they do, that's where you really have the opportunity to bond with them because now they're inside your world, they're in your home, and this is where a super fan is made.
Step seven: the rooms. Create the bond. So you've done all the work to get to this point. You've built the house. You created the rules, the systems, the architecture, the taste, and the point of view. Now, this is the point where the audience actually walks inside and starts hanging out. This is where super fans are made because now you can really talk to them. You can spend real time with them. All the work that you've done to this point is to set up this moment.
You're now building a relationship with people you've never met or may never meet, and all your job is now is to stay consistent, stay true, and execute that same brand story in all the touchpoints of the brand, through the music, through the visuals, through the live show, through the content, through the merch, through the moments, through every digital and real world touchpoint where your people are already hanging out. This is the secret to the super fan, and every touchpoint counts because like in any relationship in life, consistency is everything.
Think about the close relationships you have in your own life or the artist brands that you continue to follow. A huge part of that bond comes from consistency. They show up in a way that you understand and like, and you keep showing up for them. It doesn't mean that things never evolve, but it does mean that there's a center that holds true. And when it comes to consistency, I can tell you from seeing firsthand L Scroll creates, there's definitely detail put in every stitch of what he's doing. He thinks deeply about all this.
It's like a Michelin star chef who isn't only thinking about the ingredients and the presentation of the food, they're also thinking about the softness of the chair, the lighting in the room, the temperature of the space, the music that's playing in the background. They're thinking about how every detail contributes to the feeling and the flavor of the food. All of it is about setting the room for an emotion, and that's the insight. The more clear and the more intentional you are, the more people can feel it. The more you consider the details, the more they can feel the world. And the more they feel the world, the more likely they are to bond with it.
So the question becomes: how can you be consistent and intentional with everything you do with your brand? How can you create guidelines, systems, and organizational tools that keep the brand coming from one central point of view? And this is a huge part of our work at Cult and inside of our creative studio. Before we make anything, we clearly define why we're making it. Because when your world becomes that clear, it then attracts the right people inside, people who don't just wanna watch from the outside, but they wanna live inside of your world as much as they can. They wanna be involved in it, talk about it, debate it, wear it, share it, and tell their friends why it matters, and that's the trick. When your brand becomes their brand, you now have a super fan.
There's actual science around when someone bonds to a community or tribe, and it's tied to their primal human need to survive, and that's what community building in the end is all about. Community building itself is just another style of a game, and Skrillex has become a master of that game. He took the strong foundations he set up 15-plus years ago, and he stayed true to his principles, his rules, his systems, his vision, and his taste, and he's been able to expand his single house into a whole city.
The Skrillex brand is one of the most well-known and well-respected music brands in the world, and I'm proud of my buddy Sonny. He's not only an incredible, meticulous artist, he's also genuinely a good dude. He showed me so many things. He greatly impacted how I think about creativity and taste in my own work, and for that, I'm forever grateful.
But I hope all this was helpful, and should you wanna collaborate with myself or The Cult Creatives on your own brand or brand strategy, you know where we are: all things The Cult Creatives, thecultcreatives.com. We also have a weekly newsletter that features topics just like this, and if you wanna subscribe to that, you can go to neighborhoodartsupply.com. But until next time, good luck in all the things that you're building, and I'll see you on the next one. Peace.