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How one college student scored a design commission from the director of Broadway's hottest show

There is a fine line between perseverance and stalking in chasing what you hope to achieve in your career. Those who keep going after they've been turned down run the risk of continued rejection, but something compels them to carry on until they reach their prize. Often, the stories that end in success involve someone going nearly overboard in their pursuit: These ambitious souls just don't pitch an idea to a client they physically make the product and then send it to everyone at that company for consideration.

And that is where Dominic Grijalva's story begins. The 24-year-old Fresno State graphic design student and self-professed theater geek has been enamored with Hamilton creator Lin-Manuel Miranda, so much so that he has followed Miranda's every move on social media and decided to do a personal project that paid homage to Miranda's shows. While most people would stop at completing the project, Grijalva went one step further by simultaneously connecting with Miranda on social media and sending Miranda and 50 members of his cast the final work.

The perseverance has paid off for Grijalva. He can now add freelance designer for Miranda's official artist merchandise site, Tee-Rico, to his resume.

We recently asked Grijalva about how he got Miranda's attention, the process behind this major commission, and how he balances being a full-time student with an exciting freelance design career.

How did you develop a banter with Miranda?

When I watched the 2008 Tony performance of his earlier show In the Heights, I became a Lin-Manuel Miranda fan. As a fellow Latino actor, I was inspired by his work and excited to see what he'd do next. I really liked that Miranda engaged with his social media followers, and would reply or comment to posts on Twitter, Facebook, and Tumblr. Occasionally, he would respond to me, and I always wondered if he knew who I was.

At the end of summer 2014, Miranda reached 96,000 followers — an inside reference from In the Heights — and asked fans what he should do to mark this milestone. I Tweeted that he should do a one-man show of In the Heights and post it to YouTube. Miranda responded that he was going to follow some of his favorite fans, and the next morning I received an alert that he was following me.

A few months later, I was going to produce In the Heights in my hometown of Selma, California, and I jumped at the opportunity to tweet Miranda this question: “What's a piece of advice for someone who wants to produce In the Heights?” Miranda responded: “Cast team players. The play is about community and themes of the show need to translate into the cast.”

I took this advice to heart, and it worked. Coincidentally, my summer 2015 opening of In the Heights overlapped with the opening previews of Hamilton, and it felt very special. I had never seen Miranda perform live and hadn't been to New York in 10 years, so a friend and I bought $100 tickets to see Hamilton in the summer 2016. As Hamilton started attracting buzz, I continued to interact sporadically with Miranda on Twitter.

What inspired you to create a Dueler Eye Chart holiday card, a play on an eye chart found at an optometrist's office with references to the Hamilton song “Ten Duel Commandments” for their cast and crew?

In November 2015, I was taking a printmaking course and our assignment was to create a design to etch in metal. I was struggling for ideas, and, while listening to Hamilton's soundtrack, a lightbulb went off. An eye chart popped into my head, and I immediately went on InDesign to work on my idea for four straight hours until I was done because I didn't want to lose momentum. I ended up being terrible at working on metal, so embarrassingly enough, I failed the course — sometimes the execution doesn't work, but the idea does.

“Sometimes the execution doesn't work, but the idea does.”

I still thought the image could be something bigger, so I decided to turn the Dueler Eye Chart into a holiday card for friends and family. A close friend advised me to send the card to Hamilton's cast and crew as a thank you, and I figured I'd get a Twitter mention at most. I sent 50 copies to friends and family and 50 copies to Hamilton's cast and crew. I included a personal 4×5 placard stating my appreciation for Hamilton and what it meant to me as an artist.

College student Dominic Grijalva meets his creative hero Lin-Manuel Miranda.

Did you receive any feedback from Hamilton's cast and crew?

Mid-December, I received a Tweet from an ensemble member encouraging me on my journey to make a living as a designer. They noted that it can be difficult to have a sustainable career in the arts, so all artists must work hard to remain relevant — especially if you depend on your body as your instrument. A few days later, I watched Star Wars on opening day and took a picture of Miranda's name in the closing credits for writing the Cantina Band music. I Tweeted Miranda the picture, congratulating him, and he replied, “Hey, we love your eye chart — thanks so much!”

At this moment, I realized he actually knew who I was. In January, I started seeing pictures on social media of my eye chart popping up in dressing rooms. It was surreal.

It can be difficult to have a sustaining career in the arts, so all artists must work hard to remain relevant.

How did the commission come to be?

In March, I randomly noticed that Miranda had fiddled with his Twitter page, and it was doing something funky to his Facebook page. I took screenshots of how to correct the issue and sent Miranda a direct message with this information. A few hours later, he Tweeted, “Thanks to Dominic who helped fix this issue!” Two days later, I woke up to a barrage of Facebook and text messages, and didn't know what happened. Miranda had accidentally publicly Tweeted me when he meant to send this direct message, “Hey, I have this idea and I would like to get your brain involved. Please send me your email.”

In the middle of a two-show-day, Miranda had been brainstorming how to give back to fans and artists who were creating amazing Hamilton-inspired artwork, while expanding his brand into merchandising.

After a few email exchanges and calls with Miranda's brother-in-law, who represents him and handles merchandising, I received a proposal to create some sketches for In the Heights-inspired T-shirts.

You followed Miranda closely. At any point did it ever feel like borderline stalking?

(Laughs) I never felt like a stalker. In the past, if a celebrity favorited one of my Tweets, I would reply in all caps, “OMG!” But, that doesn't add any substance, and it's the equivalent of screaming at someone. With Miranda, I just tried to be intentional and tactful with my interactions. I was such a fan and reminded myself that I'm doing this because I respect him, and would love the opportunity to work with him someday.

“With Miranda, I just tried to be intentional and tactful with my interactions.”

What were the specific objectives of the commission?

Based upon the number of characters in the play, songs, and inside jokes and references, I was tasked to create a few sketches, which would work on apparel and could be expandable. In all, I submitted a handful of sketches and over 100 ideas. This exceeded his team's expectations, and Miranda and his team narrowed the field to seven sketches. All seven designs made the cut, and are available for purchase online.

How did you negotiate with Miranda, and what was this like?

I negotiated terms of the commission with Miranda's brother-in-law, Luis, and the process felt very natural. I receive royalties per item sold. Tee-Rico is big on promoting their artists' work, and they always include our Twitter handles and websites on their site, and tag us when customers send pictures wearing our designs. Family is very important to Miranda, and his family members work with him and help run Tee-Rico. Now, I am part of the Tee-Rico family, and it reminds me of my family. I feel safe and cared for, and it has been great connecting with other Tee-Rico artists. I know that my creative ideas are heard and valued, and I feel fortunate to work with someone I respect and admire.

“I am currently using revenue earned from Tee-Rico to pay off my student loans.”

How does this work as a business?

I am still a full-time college student and will be graduating in December 2017. Tee-Rico is understanding of my responsibilities, and I'm able to manage my course load, theater schedule, and juggle freelance projects. I am currently using revenue earned from Tee-Rico to pay off my student loans.

Walk us through a typical school week. How much time do you devote to school work and how much to your freelance design work?

Typically, I try to schedule all day classes or evening classes to block my time. All of my clients know that I'm a student, so my schoolwork comes first. On Mondays, Wednesdays, and Fridays, I have afternoon classes, so I'll crank out my freelance work in the evenings. On Tuesdays, and Thursdays, I take night classes, so I'll work on my freelance projects earlier in the day. At times, everything overlaps, so making lists allows me to prioritize my deliverables. I always have my laptop on me, so that I can work from anywhere! On weekends, I might catch up on some freelance work, but I spend a lot of time at the theater.

Have you ever had to juggle the deadline of a Tee-Rico project with a school project? If so, how did you deliver both on time?

I'm actually doing this right now! I just opened a show and it's consuming a lot of my time, in addition to my classes. However, on my first call with Tee-Rico, Luis said, “I know you're a student, so your schooling comes first. Work on Tee-Rico projects when you have the time.” I owe him some concepts, so I'm keeping in touch via email and phone to provide frequent updates. Open communication is key.

What's your advice to young designers looking to get their foot in the door somewhere?

If you're approachable and voice your opinion, it's easier to get noticed. Relationships and connections help as well. It's random, but I have a good friend in New York who was babysitting for the director of marketing at licensing agency, Musical Theater International. I told her I was coming to New York in June, and asked if she'd put in a good word for me, and share my website. She did, and the director of marketing agreed to meet with me while I was in town. He literally pulled up my portfolio on the spot, and I walked him through projects in my portfolio.

When he asked what my dream job would be, I named the advertising firm SpotCo, which handles marketing and branding for Broadway's hottest shows. I don't have any contacts there, so he offered to connect me with a guy who works there. We scheduled an informational call when I returned to California, and he too requested an overview of projects in my portfolio.

After graduation, I'm planning to move to New York, and the Musical Theater International director of marketing asked me to call him when I arrive. I've at least planted a seed at SpotCo., and when I do move to New York, I want to be absolutely ready.

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On Hirshhorn plaza, demolished '92 Dodge keeps pulling in the curious

Visitors to the Hirshhorn plaza encounter “Still Life with Spirit and Xitle.” (Photo by John Barrat)

Although it has no magnetic properties, the 9-ton red volcanic boulder on the plaza of the Hirshhorn Museum and Sculpture Garden keeps pulling people in from the nearby sidewalk on Independence Avenue. Perhaps it is the boulder's painted-on smirk or the fact that it sits atop a 1992 Dodge Spirit, creating, as a recent press expounds: “a slapstick disaster scene… part performance, part sculpture.”

“Joyful and cathartic,” is how Hirshhorn Chief Curator Stéphane Aquin described the sculpture “Still Life with Spirit and Xitle” on a recent August morning as he watched person after person curiously approach and then examine the artwork. Many took selfies with the smashed car and rock.

“On a very simple level, people just see a rock on a car and they say, ‘God this is fantastic,' because they wouldn't dream of wanting to see that on their car,” Aquin says. “And then some would, because they hate their car.”

Created by expatriate American artist Jimmy Durham in 2007, the Hirshhorn recently acquired the sculpture following its appearance in the 2015 Art Basel exhibition in Miami Beach. “It was truly the star of the art fair,” Aquin recalls. “I don't know if it is a sign of the quality of a work, but definitely of its public appeal, it blew up on Instagram. It was really the most spectacular thing in the fair.”

Durham's name for the sculpture refers to the ancient Mexican volcano Xitle (shy-tuhl) which means, “Spirit.” It erupted around 245-315 AD and engulfed the then-prominent city of Cuicuilco in lava. Durham had a 9-ton boulder quarried from near the buried city which was then placed by crane upon the roof of the Dodge Spirit. As a finishing touch, Durham painted a smug, cartoon-like face on the boulder.

Still Life with Spirit and Xitle” on the Hirshhorn plaza (Photo by John Barrat)

“It's sort of an open metaphor of the revenge of nature over culture,” Aquin explains. “It represents the encounter of two forms of spirit, one ancient, mythological and physical and the other—a Dodge Spirit—a car produced in Mexico.

Durham, who had lived in Mexico between 1987 and 1994, was aware of other associations with the car, Aquin says. “Because it was a powerful car undercover police would use them, as well as drug dealers…so it has associations of shady, nefarious government force.”

Although the volcanic rock appears to have landed violently upon the car, Hirshhorn staff placed it gently down with a crane. The boulder's weight had already bent the car's frame, pushing it down to the ground. “There is no car that's going to take 9 tons,” Aquin says.

Its placement on the plaza in front of the Hirshhorn's main entrance is not arbitrary, Aquin adds. Car and rock sit atop the only concrete pillar that supports the plaza from below. “We had X-rays done to locate the plaza pillar and determine the exact position where we could safely place it,” Aquin explains. “Anywhere else and it may have dropped straight down,” into the Hirshhorn's basement.

A crew of Smithsonian staff use a crane to install Jimmy Durham's sculpture “Still Life with Spirit and Xitle” on the Hirshhorn Plaza.

After numerous walks around the museum while observing the constant flow of pedestrians in the vicinity, Aquin and other HMSG staff determined that a large percentage of the Hirshhorn's visitors travel to the museum from the Air and Space Museum and L'Enfant Plaza Metro, walking west along Independence Avenue. With this in mind, the Dodge is aimed at an angle with its headlights pointing at these walkers as they approach the Hirshhorn's south plaza entrance. The sculpture is “a show stopper,” Aquin says. “Everyone stops. It's just a simple thing but no one gets over it.”

How does one preserve a demolished car? “It's complicated,” Aquin observes. As per Durham's wishes the elements will be allowed to take their toll upon the car. “We know the car is going to dilapidate over time. In 60 years it will be totally different and down the line it will disappear. Durham suggested at some point we replace the car with a typical Washington, D.C. diplomatic limousine…something like a Cadillac Escalade, a motorcade car,” Aquin says. “But if we do that then the question arises what do we do about the sculpture's title? We lose the Dodge Spirit.”

For the rock, geologists and volcanologists have been invited to assess the cracks in the rock and, as a few plants have grown on its top, a botanist also is being consulted.

“Still Life with Spirit and Xitle,” signals a new direction for the Hirshhorn more than anything else, Aquin says. “It's only one work but it has transformed the plaza and the whole look of the building. Little by little that's what we are trying to do.”

The post On Hirshhorn plaza, demolished '92 Dodge keeps pulling in the curious appeared first on Smithsonian Insider.

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Three New books mark museum opening

To commemorate the opening of the Smithsonian's National Museum of African American History and Culture three new books have been released by Smithsonian Books: Dream a World Anew: The African American Experience and the Shaping of America; Begin with the Past: Building the National Museum of African American History and Culture; and National Museum of African American History and Culture: A Souvenir Book. Each book will be available in the museum store beginning with the museum's opening on Sept. 24. On Sept. 27 the books will be widely available elsewhere.

Dream a World Anew: The African American Experience and the Shaping of America uses objects and stories from the museum to examine the African American experience. It presents a sweeping history that includes the path from slavery to freedom, the struggle during Reconstruction and the civil rights movement, and the swell of major social, political and economic changes since 1968. The book also celebrates the achievements of extraordinary black musicians, writers, performers, athletes and artists who influenced American cultural identity.

Begin with the Past: Building the National Museum of African American History and Culture presents the long history of efforts to build a permanent place to collect, study and present African American history and culture. It traces the appointment of the director, the selection of the site and the process of conceiving, designing and constructing a public monument to the achievements and contributions of African Americans.

National Museum of African American History and Culture: A Souvenir Book showcases the treasures of the museum's collections. Highlights include a silk lace-and-linen shawl given to Harriet Tubman by Queen Victoria, Pullman Porter train cars and uniforms, the jacket and skirt worn by Marian Anderson for her 1939 Lincoln Memorial concert, Negro League baseball banners and jerseys, a Tuskegee Airman flight jacket and Chuck Berry's Cadillac. All of these objects and many more are accompanied by captions explaining their significance and role in the nation's history.

The post Three New books mark museum opening appeared first on Smithsonian Insider.

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