From agency grind to design empire—building a successful design studio with Christopher Doyle

Christopher Doyle isn’t just a designer; he’s the creative force behind some of the boldest branding in the game. As the founder and creative director of the successful Sydney design studio Christopher Doyle & Co., Chris is renowned for his sleek, distinctive creative style which has cemented him as a standout figure in the world of contemporary design.

While his work has graced the pages of major publications and powered high-profile brand campaigns—from Spotify to Troye Sivan—Chris’ success goes beyond big-name clients and magazine spreads. Behind this thriving career and successful studio is a much grittier, more authentic story of risk, sacrifice, and facing creative challenges head-on. 

As many designers do, Chris started with a love for art and a talent for visual storytelling. But instead of climbing the traditional agency ladder, he ditched the 9-to-5 grind to carve out his own path, going on to found his own thriving design studio focused on innovation, distinction, and crafting meaningful experiences that resonate with audiences on a deeper level.

Also a mentor, a speaker, and advocate for hands-on creativity, Chris recently took the stage at Birmingham Design Festival 2024, sharing his knowledge on everything from the creative process to the ups and downs of building a business from scratch.

If you’re looking for some creative mentorship, you’re in the right place! We chatted with Chris about his impressive career journey, his advice for budding designers looking to make their mark, and how a little risk can lead to big rewards.

A couple of things pushed me in that direction. I worked as a design director at an agency for about three years and felt like I had hit the ceiling professionally. The agency was top-heavy with excellent people, but I didn’t see much room for growth.

At the same time, I was looking around for other opportunities in Sydney, but nothing caught my interest. On top of that, I had two kids and felt like if I was going to make a change, the time was now. I did feel a bit of a clock ticking, which might be related to the ageism in our industry—a whole other conversation—but it’s a real thing. I was around 34 or 35 and felt like I had the physical and mental energy to take the leap, so I decided to go for it.

It was a combination of needing a change, not seeing any appealing opportunities, and feeling like it was the right time. I figured I’d find something else if it didn’t work out. But, of course, it was still a significant risk—leaving a job with two kids and a mortgage to start something new. However, it’s hard to go back. It was scary then, but maybe I was a bit naive. I just believed it would work, which is the privilege of being in a male-dominated industry in an economically safe time.

The design work came quickly to me, but the business side was a real challenge. I suddenly needed contracts, systems, and structures I had never managed. It hit me fast, and I had no idea how to handle it. Fortunately, I had a network of friends and designers who provided advice and examples of contracts. I naively thought the design work would be the most challenging part, but everything else proved to be the real challenge.

I made plenty of mistakes—miscommunicating with clients and mishandling finances—but that’s part of starting a business. One harsh lesson came when I booked and art-directed a photo shoot but didn’t have the funds to pay the agencies and photographers on time because my invoice was due later. That taught me to plan better for costs.

You must anticipate challenges beyond the actual work and learn quickly from your mistakes. Over time, I got better at spotting potential issues and working more efficiently. For young designers, I always recommend getting experience first—working in an agency or finding a mentor—because you can’t fully understand client relationships, politics, and processes without that foundation.

If I had to give one piece of advice, it would be to find a mentor. That can take a couple of forms—someone you work with or under at an agency or studio or someone you can lean on for advice if you decide to start your own business.

I had creative mentorship in the agency world, but once I left, I leaned on people for advice on account services, project management, and general management. I would call them when I encountered hurdles with clients I didn’t know how to handle.

Having mentorship is crucial, whether you’re in an agency or running your own business. It’s about finding the right people who are generous with their knowledge and willing to help you through the process. If you can find those people, they can be invaluable to your growth and success.

Two projects stand out. First, we worked with Spotify for about four years, starting when their Australian office was just getting off the ground. We had a great relationship, especially with an amazing woman named Rosie, who I’d worked with before. As their Sydney office grew, so did our projects, evolving into a truly creative and collaborative partnership with an incredible team—predominantly women, which we loved. It was always well-paid, and there was great energy. We enjoyed working together until I scaled back the business post-COVID. The work was challenging but fun, involving everything from copywriting to motion design. We learned a lot, and it was an absolute joy.

The second project was more recent: working with Troye Sivan and his brother Steele Mellet on the launch of their lifestyle brand. Again, it was all about the people. We collaborated with a team of photographers, videographers, and designers, all working separately but harmoniously. The whole process was ego-free, which is rare, and we were honored to be part of it. Troye was very creative and incredibly down-to-earth, which made the project even more rewarding.

Creating distinction is crucial, especially in branding, where producing something unique is increasingly challenging. With so much work generated globally, standing out within a category requires a deep understanding of competitors, the market, and the audience. It’s not about borrowing ideas from other categories but finding a unique angle that sets a brand apart. Without distinction, a brand risks blending into a sea of sameness and failing to make an impact.

Accessibility is another critical factor. Whether it’s logos, copywriting, or website design, the work must be accessible to the target audience. Designers sometimes overlook this, making work too broad and bland or too abstract and unapproachable. The goal is to strike a balance, creating work that invites curiosity and engagement while still being clear and relatable. It’s like leaving the door slightly ajar, encouraging the audience to explore and connect with the brand.

Designers must prioritize the audience’s needs over their creative desires. Commercial design is about serving the client’s needs rather than imposing your style. This adaptability is essential—you’re not just creating; you’re helping a client communicate effectively. It’s the essence of commercial art: applying creativity in a way that meets the client’s goals, whether that’s to sell, tell, or announce something. New designers, especially those fresh out of university, must understand that the client’s needs dictate the direction, and your role is to adapt your talent to fit those needs.

Every agency has its own version of the same basic process—immersing itself in information, client input, research, and more. The thinking process can get messy and is hard to define, especially since it varies depending on the project. Sometimes, it’s all about graphic play and sketching; other times, it’s about writing and crafting campaign structures.

For instance, a Spotify or TikTok campaign might be primarily about words, copy iterations, and campaign concepts, while a project like Troye Sivan’s was more abstract, and focused on graphic exploration. So, there isn’t just one way we approach things. What’s consistent, though, is the importance of having as many conversations as possible upfront—whether through workshops, meetings, or briefings. You can’t do the work without those conversations.

We don’t have a secret formula, and our approach is constantly evolving. However, one thing we always emphasize is iteration. Whether it’s a poster or a logo, we believe in creating 30, 40, or even 50 versions. It’s like exercising a muscle—the more you do it, the clearer your ideas become, and the more options you have. Stopping too soon means missing out on potential progress.

Frequent creative exercise leads to better results over time. While it’s natural to second-guess completed projects, knowing when to stop is crucial—whether due to time, budget, or intuition. The more versions you create, the clearer the top contender becomes. 

As a creative director, I review dozens of versions and pick the right one, tweaking as needed. It’s all about experience—years of practice that sharpen your instincts and improve your ability to spot the best solution.

The sad answer is that I probably don’t prioritize this as much as I should. However, since I decided to stay small with my business, I’m still always designing and doing the work—which is how I continue to learn, improve, and move forward.

I don’t just direct or run the business—I enjoy doing the work and want to keep in touch with it, and staying hands-on helps me keep evolving creatively.

I still know many of the people I worked with at agencies, and we’ve all taken different paths—some are in-house, some are running businesses, and others are leading big agencies in different countries.

It depends on what you want. Some people find satisfaction in leading a large team of people, staying in a top-level role, presenting, and overseeing everything. I’ve never really wanted that. I get the most enjoyment from doing the work, and that’s probably why I’ve stayed where I am.

I still feel comfortable doing the work because I’ve kept doing it. I don’t feel out of touch, though I could be more involved or better at certain technical aspects. But I can still get on the bike, and I’d hate ever to lose that feeling. I dread the day that happens.

To truly disconnect, you need to step away from work. I believe in letting work linger in your mind even when you’re off the clock but in a healthy way. It’s about balance—allowing work to occupy a small space in your mind without overwhelming you. I tell everyone in the studio: I don’t expect anyone to clock out and then obsess over work all night. Yet, some of my best ideas come when I’m away from the screen. You don’t have to force it; let ideas surface naturally. I often solve problems during downtime, and part of the solution is already there when I return to work. There’s value in letting ideas simmer as long as they don’t consume you.

I’m the same way—staring at a screen can leave me stuck, but the solution often clicks after a walk. A change of scenery helps break mental blocks and sparks creativity. I even sketch logo ideas in my phone’s notes app while on the go. It’s a messy system, but it works for me.

Our point of difference is our human touch—how we communicate ideas and build client relationships. AI can’t replicate that human-to-human interaction. While AI can accelerate some tasks, it can’t replace humans’ nuanced, creative leaps. For us, tools like Photoshop’s generative features enhance our workflow, but we still value the joy of crafting work ourselves.

One of the hardest things was adjusting to the industry after having children. At the time, agency culture was about long hours, and I felt excluded as my life stage changed. It was difficult to watch others, especially women with children, face even more significant challenges staying connected to their work.

COVID-19 was another major challenge. Like many, I struggled mentally and had to make the tough decision to scale back my team from five to two. It was tough, involving difficult conversations and redundancies, but ultimately, it was what I needed to do to survive and move forward. The upside was that I became noticeably happier and healthier, even though it was a tough period to navigate.

Another significant challenge was dealing with toxic client relationships. No one tells you how to manage these situations, and it took me years to learn that it’s okay to say no to clients when the relationship isn’t working. I’m much better at recognizing red flags early and setting boundaries. It’s empowering now, but it took a lot of practice to get there.

I believe there’s opportunity in everything—every project, every obstacle, and every setback. Even if something goes wrong, there’s always a chance to learn and improve in the next project. It can be tough to stay positive, especially when challenges pile up, but persistence is vital. I’m 22 years into my career and still believe my best work is yet to come. Keep going, and look for opportunities in every situation.

And that’s a wrap! Ready to take your design career to the next level? Discover more insights and tips from industry leaders in our interviews with Jessica Walsh and Beci Orpin.