Feature Friday #026 - Grant Shepley

From phonograph DJs to skateboarding astronauts, his breadth of creativity is unrivaled on Cotton Bureau. You know him as Gamma Ray, but now get to know Grant, the artist behind your favorite designs.

See more on his Instagram and enjoy 20% off all his on-demand items through Sunday, June 1 with coupon code featurefriday20 at checkout. But first, the conversation…

Thanks for joining us Grant. I want to rewind a bit before getting your thoughts on the future of the industry. Back in 2018 you left your full-time gig as a designer to start your own business. A lot of folks get to the point where they want to be independent but aren't ready to fully take on the pressure. Looking back, would you have done anything differently?

Making the decision and then working through obstacles (like worldwide pandemics) to be successful feels so stressful and rewarding. What gave you the motivation to stick with it?

I was in a pretty comfortable spot for the first few years after leaving my job. Therefore, looking back, I think I got a little too used to doing things the same old way instead of keeping up with new trends.

Since going out on my own, one of the biggest challenges as a designer and illustrator has definitely been the rise of AI art. It's had a huge impact on artists like me. That said, as frustrating as it is, I'm starting to see that there might be ways to adapt, maybe even use AI as a tool to help spark ideas, rather than just seeing it as a threat. It's not easy, but I'd rather evolve with the times than get left behind.

As cliché as it might sound, I'm genuinely passionate about turning my ideas into art. That passion has always been what keeps me going, and thankfully, my artwork has continued to support me financially, even through tough times like Covid.

Going back to AI art, it's been a real challenge. It's not just replacing designers in my field, it's also flooding the print-on-demand space. People are uploading hundreds of AI-generated designs a month to the big platforms. That kind of volume makes it even harder for original work to stand out. That's why I'm really grateful for platforms like Cotton Bureau. They're more curated and truly supportive of real artists like me, and that makes a big difference.

You actually beat me to the punch. We've been asking all of our guests about the introduction of AI and how they see it impacting the industry. We're 100% in line with your thinking that it's great as a tool but not for a finished product (and definitely not for tees!).

A more pressing question might be how AI will affect the future of design. I wonder if we'll ever see it prevalent in big ticket advertising or among prestige brands. Do you see it snowballing or is regulation imminent?

Hmm, that's a tricky question. I've already seen a lot of big brands using obvious AI art in their ads, probably because it's faster and cheaper than hiring a real illustrator or digital artist. I have a feeling it's only going to become more common over the next few years. That said, I've heard an interesting theory that AI art might eventually sabotage itself by constantly training on other AI-generated images, which could water down the quality over time. As for regulating it, I'm not really sure how that would even work. Some apps are trying to protect artists by blocking AI from scraping their work, but it still feels like a bit of a grey area right now.

There's no doubt that usage has increased, even among well-known brands. For now it seems like there's still some trepidation for advertisers to buy all the way in though. Almost like we're in the testing phase. Hopefully it doesn't become the norm.

That's also an interesting theory on AI art becoming watered down. Adapting is key for any artist (human or otherwise) to stay relevant. You mentioned using AI as a tool to spark creativity. How else has your process changed since you first began designing? Being independent I'm sure you've developed some new techniques and picked up a few tricks along the way.

It's changed A LOT since I started designing and subbing designs to Threadless as far back as 2009. Before I had a sketch tablet I used to sketch my rough idea on paper and scan it, haha. I would then print the sketch at lower opacity and draw a neater version over it and repeat the process. Sometimes I would do that like 5-7 times until I had the final artwork to scan and clean up in Illustrator and Photoshop.

These days the process is way more streamlined. I usually sketch one rough idea and then I'm straight onto the sketch tablet to complete it digitally. Back in the day I often used to forget a lot of my concepts, so I've made a habit of noting them immediately and then going through them all weekly to see which ones look the best to start.

Yeaaah things are just a bit different in the tablet era. I think we can agree that's an advancement for the better.

With everything being more streamlined, how does your routine work? You pump out a lot of t-shirts, and we're not complaining. But you also create brand identities, provide UI/UX design, and illustrate book covers, among other projects. How do you pick and choose what's best? Is there any method to prioritizing your time?

I don't pump out as many Tee designs as I used to 3-5 years back. I have begun focusing more on commissioned freelance (because of the changes in the tee industry as mentioned earlier… AI etc). I will always prioritize paying freelance first. Although creating tee designs under Gamma-ray will always be my true passion 😄

It's hard to pass on paying freelance work, we get that. Whether it's commissioned jobs or t-shirt design, I'm curious about how your cultural background impacts the final product. Being in South Africa, does your design approach change based on the target audience's location? Are there any specific challenges to overcome when producing work for the States, Europe, or other particular regions?

South Africa is pretty westernised, especially in the bigger cities like Cape Town, where I live. So my approach to design isn't all that different, really. I'm pretty flexible when it comes to different styles, even cultural ones if needed. I guess the biggest challenge is working with clients in the US. The time difference can be tough since they're about 6 to 9 hours behind.

That makes sense. I'm always interested to see how designers cater their work to different locations, regardless of how similar their home area is.

Ok let's get out of here on a fun one. Your current work setup provides a lot of flexibility, so when you're not collaborating with clients or designing apparel, what are you getting up to? There's so many amazing sites in your part of the world. Any travel in particular you'd recommend?

South Africa, although it's been in the news for the wrong reasons and some inflated, but putting politics aside, is honestly an incredible place to visit. Everyone's heard of the big highlights like Kruger National Park, Table Mountain, the Garden Route, and the Drakensberg, and they really are worth the hype. Then there are more low-key hidden gems too. Scarborough, for example, is a tiny seaside town just 35km from Cape Town - peaceful and beautiful.

Then there's Swellendam and Bonnievale, about 150km out, offering a slower pace and loads of charm. The Cape region especially has a bit of everything - hiking trails, mountains, surf spots (the water's chilly though!), lush greenery, adventure sports, and a buzzing nightlife.

It's a mix that keeps things interesting for any kind of traveller.

Well I might have just found my next international destination! It truly sounds like a magical place to live. 

Thanks so much for taking the time to chat with us, Grant. Best of luck with the freelance work and know that we're always looking forward to the next Gamma Ray design!