More importantly, Lester’s shop was small—just the two of us. That let me learn everything quickly and firsthand. There weren’t layers of bureaucracy or long waits between opportunities. Lester could see my work directly and promote me instantly.

Kathy, on the other hand, worked in a large operation where rules were strict and progress was slow. She didn’t have the same opportunity to showcase her abilities.

Also—let’s be honest—Lester was a kind and generous man. He even invited me to his Thanksgiving and Christmas parties at his home.

But above all, I genuinely believed there was some divine intervention at play—guiding me toward something bigger. This job with Lester was the most critical turning point in my entire graphic arts journey.

Lester grew very attached to me. So much so that he began considering expanding his operation to keep me on. He even brought in another talented artist named Dan as part of that plan. Dan and I became very close friends. We hung out frequently and dined at a small Italian restaurant in the historic Georgetown, known for its charm, Federal-style architecture, and as a hub for political figures, artists, and intellectuals. Notably, it was home to John F. Kennedy before and during his presidency.

But after a few months, Lester reconsidered. His business was seasonal, and we were approaching the slow period. More importantly, he was getting older, recently remarried, and had a young son. He decided his priorities would be better served by spending time with his family.

One day, he called me to his office.

“I’ve decided to pull back,” he said. “And as much as I hate to see you go, it’s the right time. But listen—take a week, with pay, to work on your portfolio. I’ll help you find your next job.”

I thanked him deeply not just for the opportunity—but for the trust he’d placed in me.

That week, I dedicated myself to building a portfolio that could open doors. I asked the people I’d worked with, and those who had praised my performance, to write letters of recommendation. I believe that when others vouch for you, it carries more weight than anything you could say about yourself.

The letters I received were incredibly supportive and generous, especially those from Lester, Mr. Fuller, and Mrs. Smith. I designed the opening pages of my portfolio to highlight their praise, then followed with a strong, creative display of my work, including many of my more visionary designs.

I showed Lester my finished portfolio. He flipped through it slowly, then looked up and said, “This is impressive. Well done.”

That same afternoon, he picked up the phone and called his friend—the president of Creative Presentation Inc., one of the largest graphic design firms in Washington, D.C.

He gave me the phone number. "Call them,” he said. “Set up an interview. They’re expecting you.”

The Designer Job Interview at CPI

I had everything ready over the weekend—my “lucky” suit, a crisp shirt, and a bright red tie. I woke up early and ate a protein-packed breakfast of eggs to boost my brainpower. With my portfolio in hand, I headed out to catch the bus, which was just a short walk from my new apartment in Arlington, Virginia. A few months earlier, I had moved there to be closer to my job with Lester.

As I waited, I greeted a few neighbors who were also headed to work by bus. I boarded the bus toward downtown D.C., found a seat near the front to avoid missing my stop, and settled in.

This was my very first bus ride. Ever.