Turning Points: Accept & Proceed
12 June, 2025
In our turning points series, design studios share some of the key moments that shaped their business. This week, we meet Accept & Proceed.
Accept & Proceed is a London based brand and design studio that works with clients like NASA, Nike and LEGO.
Founder David Johnston talks us through some of the decisions that defined his business.
In 2006, Johnston took the leap to start his own business, armed with a good name and a willingness to bend the truth about his team…
I’d gone through my career learning from big organisations, and one small organisation, and I felt like I wasn’t happy where I was. It was my dad who encouraged me to take a leap of faith and try and go it alone. With nothing more than a month’s wages in the bank and a lot of energy, I decided to go and set up an agency.
That really just means giving yourself a name and starting to promote yourself in the world.
Accept & Proceed founder David Johnston
I think the name itself is a very important thing. I wanted something that was memorable but also layered in meaning. A name that starts with an “a” is very beneficial when you’re being listed in the index of books and things like that.
But it became a bit of a compass for the way that we wanted to create work, around accepting the status quo for what it is, but with a continual commitment to proceed nonetheless.
Because I didn’t have anyone to work with, in those early months I just made up email addresses of people that didn’t exist. That allowed me to cost projects up for multiple people. That’s obviously a degree of hustle I wouldn’t encourage in everyone, but it meant I was able to charge multiple day rates for projects where I was playing the role of four or five people.
Self-initiated projects have long been part of the studio’s DNA and played a key role in building key client relationships.
A&P by… was a brief to explore these letterforms without any commercial intent apart from the joy of creative expression. I started reaching out to illustrators and artists and photographers and designers that I really rated, and the things that started coming back were incredible.
I was overwhelmed by the amount of energy and passion that people like Mr Bingo and Jason Evans were bringing to this.
I think in so many ways, the answer to everything is community. I’ve gone on to work with a lot of the people that created these, and they also became friends. It was an early example of dissolving these illusionary boundaries around what an agency might be, but also expanding and amplifying your potential.
The first of Accept & Proceed’s Light Calendars
Then in 2006, I was trying to establish our portfolio and I wanted something to send out into the world that would also be an example of how Accept & Proceed thinks about design. I landed on these data visualisations that show the amount of light and darkness that would happen in London in the year ahead.
I worked with a freelance designer called Stephen Heath on the first one – he is now our creative director.
This kickstarted a 10-year exploration, and they became a rite of passage for new designers that came into the studio, to take that very similar data and express it in completely new ways. It culminated in an exhibition in London in 2016, showing ten years’ of prints.
They were a labour of love, but they also meant that every single year we had a number of prints that we could send out to new potential contacts. Still when I go to the global headquarters of Nike in Beaverton in Portland, I’m amazed at how many of these sit in leaders’ offices there.
When we first got a finance director, they couldn’t believe how much we’d invested as a business in things like this – we even had our own gallery for a while. It doesn’t make sense from a purely numbers mindset, but if you put things out there for authentic reasons, there are ripple effects over time.
In 2017, the studio became a B-corp, the fourth creative agency in the UK to get this accreditation.
Around 2016, I couldn’t help but look around – as we probably all have at varying points over the last 10 years – and wondered, what the fuck is going on?
All these systems are not fit for purpose for the future – financial systems, food systems, relationship systems, energy systems. They’re not working. And I was like shit, are we part of the problem?
Accept & Proceed’s work for the NASA Jet Propulsion Laboratory
I’ve always thought of brand as a piece of technology that can fundamentally change our actions and the world around us. That comes with a huge responsibility.
We probably paid four months’ wages of two people full-time just to get accredited, so it’s quite a high bar. But I like that the programme shackles you to this idea of improvement. You can’t rest on your laurels if you want to be re-accredited. It’s like the way design works as an iterative process – you have to keep getting better.
In 2019, Johnston and his team started thinking seriously about the studio’s own brand, and created a punchy, nuanced new positioning.
We got to a point where we’d proven we could help brands achieve their commercial aims. But we wanted to hold a position ourselves, not just be a conduit between a brand and its audience.
It still amazes me that so few agencies actually stand for anything. We realised that all the things – vision, mission, principles – that we’ve been creating for brands for years, we hadn’t done for ourselves.
It’s a bit like when you see a hairdresser with a really dodgy haircut. But it’s hard to cut your own hair.
So we went through that process, which was really difficult, and we landed on “Design for the future” as our promise to the world.
And if you’re going to have that as a promise, you better be able to describe the world you’re creating through your work, which we call “the together world.”
Accept & Proceed’s work for Second Sea
We stand at this most incredible moment in history where the latest technology and science is catching up with ancient wisdom, to know that we must become more entangled, more together, more whole.
And we’ve assessed five global shifts that are happening in order to be able to take us towards a more together world through our work – interbeing, reciprocity, healing, resilience and liberation.
The year before last, we lost three global rebrand projects based on our positioning. Every one of them said to me, “You’re right but we’re not ready.”
But this year, I think the product market fit of what we’ve been saying for the last five years is really starting to mesh. We’re working with Arc’teryx on their 2030 landscape, evolving Nike’s move to zero, and working with LEGO on what their next 100 years might look like, which is mind-boggling work.
I don’t think we could have won any of those opportunities had we not been talking for quite a long time about design for the future.
In 2023, Johnston started a sunrise gathering on Hackney Marshes, which became a very significant part of his life.
I had the flu and I had a vision in my dreamy fluey state of a particular spot on Hackney Marshes where people were gathering and watching the sunrise. I happened to tell my friend, the poet Thomas Sharp this, and he said, “That’s a premonition. You have to make it happen.”
The first year there were five of us – this year there were 300 people for the spring equinox in March.
I don’t fully know what these gatherings will lead to. Will Accept & Proceed start to introduce the seasons to the way we operate as a business? It’s a thought I’ve had percolating, but I don’t know. Will it be something else?
One of the 2024 sunrise gatherings organised by Accept & Proceed founder David Johnston
I do know that there’s major learnings around authentic community building for brands. We should do away with these buckets we put people into, of age group and location. They aren’t very true. It’s fascinating to see the breadth of people who come to these gatherings.
Me and Laura were thinking at some point of moving out of London, but I think these sunrise gatherings are now my reason to stay. It’s the thing I didn’t know I needed until I had it. They have made London complete for me.
There’s something so ancient about watching our star rise, and the reminder that we are actually just animals crawling upon the surface of a planet of mud. That’s what’s real. But it can be hard to remember that when you’re sitting at your computer in the studio.
These gatherings help me better understand creativity’s true potential, for brands, for the world, and for us.
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#turning #points #accept #ampamp #proceedTurning Points: Accept & Proceed
12 June, 2025
In our turning points series, design studios share some of the key moments that shaped their business. This week, we meet Accept & Proceed.
Accept & Proceed is a London based brand and design studio that works with clients like NASA, Nike and LEGO.
Founder David Johnston talks us through some of the decisions that defined his business.
In 2006, Johnston took the leap to start his own business, armed with a good name and a willingness to bend the truth about his team…
I’d gone through my career learning from big organisations, and one small organisation, and I felt like I wasn’t happy where I was. It was my dad who encouraged me to take a leap of faith and try and go it alone. With nothing more than a month’s wages in the bank and a lot of energy, I decided to go and set up an agency.
That really just means giving yourself a name and starting to promote yourself in the world.
Accept & Proceed founder David Johnston
I think the name itself is a very important thing. I wanted something that was memorable but also layered in meaning. A name that starts with an “a” is very beneficial when you’re being listed in the index of books and things like that.
But it became a bit of a compass for the way that we wanted to create work, around accepting the status quo for what it is, but with a continual commitment to proceed nonetheless.
Because I didn’t have anyone to work with, in those early months I just made up email addresses of people that didn’t exist. That allowed me to cost projects up for multiple people. That’s obviously a degree of hustle I wouldn’t encourage in everyone, but it meant I was able to charge multiple day rates for projects where I was playing the role of four or five people.
Self-initiated projects have long been part of the studio’s DNA and played a key role in building key client relationships.
A&P by… was a brief to explore these letterforms without any commercial intent apart from the joy of creative expression. I started reaching out to illustrators and artists and photographers and designers that I really rated, and the things that started coming back were incredible.
I was overwhelmed by the amount of energy and passion that people like Mr Bingo and Jason Evans were bringing to this.
I think in so many ways, the answer to everything is community. I’ve gone on to work with a lot of the people that created these, and they also became friends. It was an early example of dissolving these illusionary boundaries around what an agency might be, but also expanding and amplifying your potential.
The first of Accept & Proceed’s Light Calendars
Then in 2006, I was trying to establish our portfolio and I wanted something to send out into the world that would also be an example of how Accept & Proceed thinks about design. I landed on these data visualisations that show the amount of light and darkness that would happen in London in the year ahead.
I worked with a freelance designer called Stephen Heath on the first one – he is now our creative director.
This kickstarted a 10-year exploration, and they became a rite of passage for new designers that came into the studio, to take that very similar data and express it in completely new ways. It culminated in an exhibition in London in 2016, showing ten years’ of prints.
They were a labour of love, but they also meant that every single year we had a number of prints that we could send out to new potential contacts. Still when I go to the global headquarters of Nike in Beaverton in Portland, I’m amazed at how many of these sit in leaders’ offices there.
When we first got a finance director, they couldn’t believe how much we’d invested as a business in things like this – we even had our own gallery for a while. It doesn’t make sense from a purely numbers mindset, but if you put things out there for authentic reasons, there are ripple effects over time.
In 2017, the studio became a B-corp, the fourth creative agency in the UK to get this accreditation.
Around 2016, I couldn’t help but look around – as we probably all have at varying points over the last 10 years – and wondered, what the fuck is going on?
All these systems are not fit for purpose for the future – financial systems, food systems, relationship systems, energy systems. They’re not working. And I was like shit, are we part of the problem?
Accept & Proceed’s work for the NASA Jet Propulsion Laboratory
I’ve always thought of brand as a piece of technology that can fundamentally change our actions and the world around us. That comes with a huge responsibility.
We probably paid four months’ wages of two people full-time just to get accredited, so it’s quite a high bar. But I like that the programme shackles you to this idea of improvement. You can’t rest on your laurels if you want to be re-accredited. It’s like the way design works as an iterative process – you have to keep getting better.
In 2019, Johnston and his team started thinking seriously about the studio’s own brand, and created a punchy, nuanced new positioning.
We got to a point where we’d proven we could help brands achieve their commercial aims. But we wanted to hold a position ourselves, not just be a conduit between a brand and its audience.
It still amazes me that so few agencies actually stand for anything. We realised that all the things – vision, mission, principles – that we’ve been creating for brands for years, we hadn’t done for ourselves.
It’s a bit like when you see a hairdresser with a really dodgy haircut. But it’s hard to cut your own hair.
So we went through that process, which was really difficult, and we landed on “Design for the future” as our promise to the world.
And if you’re going to have that as a promise, you better be able to describe the world you’re creating through your work, which we call “the together world.”
Accept & Proceed’s work for Second Sea
We stand at this most incredible moment in history where the latest technology and science is catching up with ancient wisdom, to know that we must become more entangled, more together, more whole.
And we’ve assessed five global shifts that are happening in order to be able to take us towards a more together world through our work – interbeing, reciprocity, healing, resilience and liberation.
The year before last, we lost three global rebrand projects based on our positioning. Every one of them said to me, “You’re right but we’re not ready.”
But this year, I think the product market fit of what we’ve been saying for the last five years is really starting to mesh. We’re working with Arc’teryx on their 2030 landscape, evolving Nike’s move to zero, and working with LEGO on what their next 100 years might look like, which is mind-boggling work.
I don’t think we could have won any of those opportunities had we not been talking for quite a long time about design for the future.
In 2023, Johnston started a sunrise gathering on Hackney Marshes, which became a very significant part of his life.
I had the flu and I had a vision in my dreamy fluey state of a particular spot on Hackney Marshes where people were gathering and watching the sunrise. I happened to tell my friend, the poet Thomas Sharp this, and he said, “That’s a premonition. You have to make it happen.”
The first year there were five of us – this year there were 300 people for the spring equinox in March.
I don’t fully know what these gatherings will lead to. Will Accept & Proceed start to introduce the seasons to the way we operate as a business? It’s a thought I’ve had percolating, but I don’t know. Will it be something else?
One of the 2024 sunrise gatherings organised by Accept & Proceed founder David Johnston
I do know that there’s major learnings around authentic community building for brands. We should do away with these buckets we put people into, of age group and location. They aren’t very true. It’s fascinating to see the breadth of people who come to these gatherings.
Me and Laura were thinking at some point of moving out of London, but I think these sunrise gatherings are now my reason to stay. It’s the thing I didn’t know I needed until I had it. They have made London complete for me.
There’s something so ancient about watching our star rise, and the reminder that we are actually just animals crawling upon the surface of a planet of mud. That’s what’s real. But it can be hard to remember that when you’re sitting at your computer in the studio.
These gatherings help me better understand creativity’s true potential, for brands, for the world, and for us.
Design disciplines in this article
Brands in this article
What to read next
Features
Turning Points: Cultural branding agency EDIT
Brand Identity
20 Nov, 2024
#turning #points #accept #ampamp #proceed
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