In today’s episode. I speak with Sarah Moloney, graphic designer and illustrator based in Dublin.

This is a conversation about what sustains a practice over a long time, and the answer turns out to be emotion and the pursuit of a genuine felt response in whoever encounters the work. Sarah Moloney describes it plainly: she wants people to feel a connection. Everything else in her practice follows from that.

We talk about the relationship between style and design: why Sarah's work is always recognisably hers and never the same answer twice, and why the distinction matters more now than it ever did before.

We also go into AI, not as a threat but perhaps there is light on the horizon with a trend towards and focus on handmade,  maybe this will prove to propel the industry forward rather than dismantle it.  

Just to note there are a few dips in the WIFI, but nonetheless a beautiful showcase of work and of her career at the centre of illustration led design.

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Episodes drop regularly. Listen or watch wherever you get your podcasts.

Listen on Apple // Listen or Watch on Spotify Patreon and YouTube

This years theme is FRICTION. Exploring what it means to resist, slow down, and make things that could only come from you.

In the fast-paced world of design, the common mantra is to "remove friction" to create seamless experiences. But what if friction is not just a barrier but a necessary part of our creative and personal journeys?

Check out this episode where I delve into the theme of friction as a crucial element in design and life, exploring its implications and the deeper insights it can provide.

I dissect the sub-strands:

• Friction as Method: Process, Resistance & the Slow Work
• Friction as Signal: What Difficulty Teaches
• Friction as Presence: Trust & Self

And I go through what a successful proposal looks like and give some ideas for the above strands. It really is all you need to know.

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The Open Call is open to Patreon Subscribers only ahead of general open date later in the summer.

→ Join for free at patreon.com/c/bouncecreative

No card required. Just a free account and you're in!

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The Open Call for Workshop facilitators is also open for applications year round and is available here.

Best of luck!

Hazel Coonagh is an Irish photographer and visual artist who starts with a portrait taken in the ordinary way, and then takes it somewhere else entirely. Through digital manipulation, hand embroidery stitched through paper and canvas, and a visual sensibility drawn from Japanese art, surrealism, and Art Nouveau, her work creates images that feel both completely new and deeply familiar.

There's a nostalgia to them that she can't quite separate from the mediums themselves: photography and embroidery are both, at their root, about time and memory.

In this episode we trace how embroidery arrived in her practice her incredible RTÉ Illuminations commission during lockdown, the night she saw her work projected onto the Wellington Monument in the Phoenix Park, and the housing crisis piece Halfway to Nowhere, which was made in her back garden with a cardboard house balanced on her head.

We talk about The Art Riddler show, independent arts funding in Ireland, and a frank conversation about AI; why it lacks soul, how it's dulling creative taste, and what makes a real photograph irreplaceable.

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Episodes drop regularly. Listen or watch wherever you get your podcasts.

Listen on Apple // Listen or Watch on Spotify Patreon and YouTube

Today's guest is Naoise Ó Conchubhair, someone whose entire career has been shaped by an obsession with type, the Irish language and the conviction that the best design always comes from understanding your context before you touch a single letterform.

We go way back to Naoise’s childhood, a furniture designer father, a grandfather who founded an Irish language publication, and a mother who was involved in the founding of TG4, the Irish language broadcast channel, here in Ireland. We get deep into Insular the Gaelic typeface Naoise designed for his final year project at NCAD, a project that grew from a mystery tour through Irish banknote lettering, a 1976 typeface competition, and the extraordinary stone cutting lettering of Michael Biggs at the Garden of Remembrance and Arbour Hill.

We talk about Song of the Sea and the joy of watching your handwriting appear on the Lighthouse Cinema screen as part of the film, which was nominated for an Oscar. About more modern and recent work MGNÉ, where a fada became a brand device about Free Market, the Venice Architectural Biennale, the Wonder Cabinet in the Dead Zoo, the National History Museum, and the maddening precision of brass letters that were too perfectly made to fit together.

Naoise gives incredible detail of not just the process, the projects, but the people whom he deeply respects and collaborates with, the joy of teaching the new wave of design students and the changing landscape of operating in design right now.

This episode is available to listen to on Apple, but there are so so many projects to see, I highly recommend watching the video of the podcast which is available on Spotify, YouTube or over on our Patreon.

I can't thank him enough for his generosity of time and his work shows a new modernity for Irish identity and the future of Irish design. Enjoy.

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Rough Drafts is a podcast from BOUNCE for anyone who's ever stared at something unfinished and wondered if they were on the right track. Designers, artists, and thinkers talk about the messy, uncertain, deeply human process of making things. 

Rough Drafts – Where ideas are still forming.

Episodes drop regularly. Listen or watch wherever you get your podcasts.

Listen on Apple // Listen or Watch on Spotify, Patreon and YouTube

There are very few experiences in contemporary design/art that make you forget where you are. In this episode I speak with Pauric Freeman, whose performances are one of them.

He performs live audio-visual shows in venues where the audience watches someone make the work in real time.

In the episode we explore his process and its slowness as a value, not a problem. He returns to this repeatedly and without apology speaking about programming a component that might take days and might not work. He doesn't frame this as a struggle, he frames it as how good work actually gets made. There's a quiet confidence in that, almost a refusal of the pressure to produce quickly.

He believes that what happens between a piece of work and an audience, in the room, in the body, in the brain's fusing of sound and image, is real, meaningful, and irreplaceable. He says this in the language of psychoacoustics and cross-modal integration. But underneath the technical vocabulary is someone who genuinely believes that being fully present inside an experience is one of the most worthwhile things a human being can do. And that it's worth spending years learning how to make that possible for other people.

What you get in this conversation is an understanding of how that experience is constructed from the ground up. The years of slow, iterative tinkering that were the building blocks of his creative vocabulary.

The realisation that when sound and image are experienced simultaneously, the brain doesn't process them separately, it fuses them into something that feels deeper and more present than either could produce alone.

There's also one of the most quietly compelling conversations about AI and creative practice you'll hear, not the usual debate, but something more specific. About why the serendipity that lives inside slow, iterative, human-made work simply cannot be prompted into existence, and what is lost if we stop protecting that.

Pauric Freeman is someone who moves slowly, thinks carefully, trusts the process, and believes, without making a fuss about it, that the unrushed, human-made, fully immersive experience is something worth protecting.

Episodes drop regularly. Listen or watch where you get your podcasts

Listen on Apple

Listen or Watch on Spotify or Patreon

In this episode I speak to Ashley Shak-Penn who has spent a decade building things around the globe, from the United Nations to Dublin’s Startup scene, and now as Managing Director of Dublin Independent Fashion Week (DIFW).

We talk about her varied background, where the contexts change, but the problems are the same. That tension is what this conversation keeps returning to, not as a problem to be solved neatly, but as something she's sitting with honestly;

• How do you formalize a grassroots movement without killing its energy?
• How do you charge for something that was built on generosity?  
• How do you make the case to institutions that fashion is a fundable art form when the legislation hasn't caught up with what everyone already knows to be true?

Ashley doesn't pretend to have all the answers. But if anyone can address them, she can. She’s dynamic, driven and completely focused on getting things done to amplify and build the fashion industry in Ireland. 

Episodes drop regularly. Listen or watch where you get your podcasts

Listen on Apple

Listen or Watch on Spotify or Patreon

Sarah Bracken Soper has been making art for twenty years. She only became a full-time artist two years ago. That gap, doing every job that kept the lights on while the practice quietly grew alongside it, is one of the most honest things discussed in this conversation.

We talk about what "Artivism" actually means when you're living it.

 About making work that doesn't just sit on a wall but argues with it. About the specific tension of representing someone else's community, someone else's grief, someone else's story — and what it takes to do that without ego getting in the way.

She speaks choosing using thread and embroidery, to depict women who are changing the course of Irish history.

We get into what it costs to hold political convictions publicly as a working artist — the online abuse that comes with feminist and anti-racism work, the decisions about which commissions to take and which to decline

Sarah is honest about all of it, including the moments where she's still figuring it out.

And then there's the structural question underneath everything — the one about who gets to be an artist at all. About the unpredictability, the spreadsheets, the eighty percent of your time that is admin and proposals and applications before you ever get to make anything. About the basic income for artists and whether it's enough, and about who gets quietly filtered out of the creative sector before they ever get started because the financial reality of it simply doesn't add up.

Sarah is open and genuinely uninterested in performing a version of her practice that makes it look easier than it is.

Ever wonder what really drives intercultural leadership?

Check out this episode if you believe belonging is stronger when we actively do the work to include and uplift others. Most people think belonging is just a feeling, something we instinctively recognise. But Dr. Mamobo Ogoro reminds us: belonging is designed, shaped by intentional actions.

From her childhood experiences of being othered to her groundbreaking research on migrant identities, she’s shown that belonging isn’t a given, it’s something we build, stitch into our institutions, and practice daily. Her work with GORM proves that meaningful change happens when leaders enable, equip, and elevate diverse voices, especially those often unheard.

And it’s not just about corporate diversity, it's about creating a future where every child feels seen, heard, and rooted.

What small action can you take today to strengthen someone’s sense of belonging?
Worth thinking about.

David Airey has been making logos for twenty years and writing about them for seventeen. His third edition of Logo Design Love just came out, and rather than sit down and talk about what's in it, we ended up talking about what changed — in the book, in his practice, and in how he thinks about what he's actually doing when he hands a client a mark that's supposed to outlast them both.

There's a moment in this conversation where David describes presenting design directions to clients in words only — no visuals, just paragraphs — before a single pixel gets drawn. And it sounds so simple when he says it. But the thinking behind it, and the years of expensive mistakes that led him there, that's what the episode is really about.

We talk about the gap between what a client thinks they want and what they actually need. About the logos David preferred that the client didn't choose — and what he did with them anyway. About a landscape gardening project early in his career that went quietly sideways because he forgot to ask one question at the start. About whether working increasingly through screens and email changes the work itself, in ways that are hard to prove but impossible to ignore.

And then there's the bigger question underneath all of it — what does it mean to design something enduring? Not timeless in the abstract, but actually built to carry meaning for a decade or more, through every association a customer will ever have with a brand, starting from a first impression that might be completely wrong.

David is thoughtful, honest, and very good at saying things that sound simple until you sit with them for a minute. This is exactly the kind of conversation Rough Drafts was made for.

Rough Drafts – Where ideas are still forming.

Most design podcasts focus on finished work: the award, the commission, the retrospective. Rough Drafts goes earlier. Each episode explores the thinking before the thinking, the first sketch, the direction that didn’t work, the moment a project changed shape.

New episodes drop regularly. Subscribe wherever you listen to podcasts — or sign up for updates at bouncecreative.ie and be the first to know who's coming up next.