Turner Duckworth's Joanne Chan on Being an Advocate for Creatives

And admiring female artists who forge new ground for women

Joanne has served as global chief executive officer of Turner Duckworth for five years. In 1997, she became employee No. 2 in the San Francisco office, establishing and growing its design business. Joanne was instrumental in the agency’s early days, managing packaging and brand identity projects for Amazon, Coca-Cola, Levi Strauss, McKenzie Rive and Samsung.

As COO from 2010, she focused on new business, operations and finance, leading to the acquisition of Turner Duckworth by Publicis Groupe in 2014.

We spent two minutes with Joanne to learn more about her background, her creative inspirations and recent work she’s admired. 

Joanne, tell us …

Where you grew up, and where you live now.

Born in Hong Kong, grew up in Rochester, N.Y. Have been living in the Bay Area for over 25 years—in Marin County, a beautiful place.

How you first realized you were creative.

I don’t see myself as a creative maker, but as a creative facilitator. I’ve partnered with artists and creatives for my entire career, whether in my past life working in the fine arts, or now on the branding side. In my experience, creatives are quirky, sensitive and brilliant—often in complete opposition to my type-A personality. There is so much we can learn from one another. 

A person you idolized creatively early on.

My mother, who is an accomplished Chinese watercolor painter and pianist. 

A moment from high school or college that changed your life.

I took my first art history class in my junior year. It changed my life. It focused my academic interests and my passion on art—not actually making it, but creating a safe space for artists and amplifying their work.

A visual artist or band/musician you admire.

I admire female artists who forge new ground for women and women of color. These include impressionist painter Mary Cassatt, surrealist Frida Kahlo, artist Cindy Sherman and multi-media practitioner Kara Walker, especially her silhouette installations.

A book, movie, TV show or podcast you recently found inspiring.

James by Percival Everett reimagines the story of Huckleberry Finn from Jim’s point of view. My favorite book of all time is The Spirit Catches You and You Fall Down by Anne Fadiman, about belief systems, immigrants, culture clashes, modern medicine, ethics and family.

One of your favorite creative projects you’ve ever worked on. 

Our work with Coca-Cola. It was influential and commercially successful, and is still referenced today by brand marketers, academia and creatives. It’s a story of relentless optimism and decisions based on gut feel. It became a labor of love for many on our team.

A recent project you’re proud of. 

The creation of Turner Duckworth’s book I Love It. What Is It?, co-authored with Gyles Lingwood and other contributors, some former clients, some designers and artists. It celebrates the power of instinct in design and branding.

Someone else’s work that inspired you years ago. 

Everything past, present and future by Stefan Sagmeister, a designer, artist, writer and educator.       

Someone else’s work you admired lately. 

Our 19-year-old, Charlie, is creating a handmade sensory rug. It’s not finished yet, but I’ve been privileged to serve as assistant.

Your main strength as a creative person.

I am a fierce advocate for creatives and creative culture.

Your biggest weakness.

My bias toward action means that I sometimes make quick decisions without exploring all possible repercussions. Thankfully, CCO Sarah Moffat approaches problem-solving differently, and we make a good team.

A mentor who helped you navigate the industry.

Nick Colucci, former CEO of Publicis Health and COO of Publicis U.S., helped me navigate challenges after our founders sold the agency to Publicis Groupe.

How you’re paying it forward with the next generation of creatives.

I enjoy coaching mentees inside and outside our agency, especially high school and college students, encouraging them to pursue creative careers.

What you’d be doing if you weren’t in branding.

I would still work with creatives, probably in the museum world.