Shane GREENWOOD

1.)           What was your very first job? 

My first paycheck came from playing saxophone for a dinner-theater production of A Chorus Line in Santa Cruz, CA. We were paid $50 a performance.

2.)           Please describe, in your own words, what your job is and what work it entails. 

I was hired to build a full-service creative team within The Clorox Company. My job is to define the process and manage digital creative work with a team of about 20 visual designers, UX designers, writers, producers, and production artists. We create websites and digital eco-systems for about a dozen brands. Our work includes brand standards, photography, video, copy, digital advertising, emails, social media, and apps.

3.)           How did you discover that the creative world was right for you? Was there a time in your life that you credit to this discovery? What was the train of events that brought you to where you are today? 

I credit my grandmother who was an illustrator with a quirky wit. She made good money doing freelance work in marketing. So I grew up knowing square pegs could make a living with art. After failing to make it as a musician, and needing a job out of college, a friend suggested I apply to an ad agency. I started as an admin assistant at Hal Riney & Partners and fell in love with the business. After a few years I quit to attend Miami Ad School so I could make a portfolio and reboot my career as a creative.

4.)           In your constantly growing and expanding industry, how do you find inspiration to keep your work fresh, innovative and relevant? 

It’s all about cross-pollinization. I take the most inspiration from people in other disciplines. Architects, painters, farmers, dancers, makers of all kinds. I am fascinated by process and how people solve problems. And travel is incredibly important. Right now I’m obsessed with Mexico City. Tons of inspiration there.

5.)           If you had to pick one piece of work or project that you are most proud of, more for the creative work and innovation it required, rather than its recognition or industry “success,” what would it be?   

I’m fond of the work we did for Jim Beam when I was at BBDO Chicago with my partner Angela Finney and creative director Erich Funke. Our ECD was Marty Orzio and he gave us a lot of air-cover to do great work on everything we touched. The client asked for a “one-pager” style guide for our new brand campaign. Instead, we created a 40-page brand book that won awards. It was an important moment in my career to learn how to find the bigger creative opportunity. Every project has the potential to be the best thing you ever did. Hell of a good lesson to learn early in my career.