How did you start getting projects?
Peraza: We would take on pretty much any project that came our way, for any amount of money. It just so happened that a lot of those projects ended up being for friends that were working at a non profit or some other community-based project. Circa 2004 and 2005, most of our clientbase had the word "Brooklyn" in it. Brooklyn Arts Council. Brooklyn Chamber of Commerce. Brooklyn Bridge Park Conservancy. Brooklyn Public Library. Fortunately, Brooklyn was already undergoing this renaissance, and it was a good place to polish our chops.
Vakser Zeltser: While we were hitting our head on the wall over and over and over again, we found ourselves five years in, splitting our clients between advertising—Sprint commercials, etc.—and non profit. The work from advertising was exciting because you worked with a global client, but you never saw that pitch go live, while non profits trusted our design judgement, and we saw works getting printed. They were improving their organization with the work we were creating. That meant a whole lot to us because we saw on the community level how they could increase their donations or bring in more members. That pushed us ask how we should we be spending our time.