Tuesday is the day that interests Sherul Mehta. In one account of a working week at Delesign, he lists a Shopify redesign, eighteen variations of Meta ads, a forty-two-page pitch deck, packaging for a product launch and eleven short videos. Five clients, five different kinds of work. Some deadlines had been visible for months. Others had arrived with the manners of an unexpected houseguest: already inside, asking where to put their things.
What catches his attention is that these businesses often already have a designer, an agency or somebody in-house. They can produce the work. They struggle to absorb the moment when everything needs producing together. Mehta keeps returning to the uncomfortable relationship between a company’s ambitions and the hours available to carry them out.
He helped acquire Delesign in 2020 and is a co-founder of NexaSky, where his stated responsibility is marketing and sales strategy. His subject is creative work, but his recurring question is about ownership of time. Whose afternoon becomes the overflow? Which job gets postponed? And how many apparently minor requests can a week accommodate before something important quietly disappears?
The family firm takes a different turn
Mehta’s route to that question passed through several working worlds. He studied computer science with business management at the University of Manchester. A technology-audit internship at Goldman Sachs gave him experience inside a large organisation. Later came training in India and work in the family’s diamond business in Belgium. In his own account, the combination he wanted was technology applied to business.
Acquiring an existing company offered a way to learn from something already functioning. He described Invoice Falcon, a Shopify invoicing app, as an early acquisition whose reviews, customers and existing processes could be studied. A working business provided practical lessons for whatever came next.
The Delesign opportunity brought his brother Shaival into the picture. Shaival recalls Sherul and their cousin calling in April 2020 with the idea of buying it. Delesign had been founded in 2017; the family was taking over an existing service. The distinction matters. Their task included understanding the people and routines already there.
Shaival describes Sherul as the quicker-moving partner, comfortable with uncertainty, while casting himself as the advocate for process and structure. The brothers also spent weeks meeting the company’s team in the Philippines. An acquisition can be completed on paper. Working relationships require conversation, questions and enough time to hear the answers.
The client who was tired of remembering
Mehta’s accounts of customer conversations have a recurring cast: a marketing lead, an agency owner, someone carrying a list that has never quite made it into the project software. There is an ad to prepare, a banner to resize, a presentation whose logo needs changing. None of the individual tasks sounds like a suitable subject for a crisis meeting. Together, they occupy a considerable amount of thought.
He recounts a client explaining that the meaningful result was having the team stop worrying about design. In that telling, the service is judged partly by whether a persistent background responsibility goes away. A delivered file is visible. The absence of another reminder is harder to photograph, although anyone who has managed a launch may recognise its appeal.
“Design work does not arrive evenly. It arrives in bursts.”
Sherul Mehta
Mehta illustrates that unevenness with a customer in San Francisco who requests work when needed and pauses when things go quiet. He is interested in the fit between capacity and demand. A quiet spell and a launch week ask different things of the same business. Buying a fixed amount of someone’s attention means deciding what happens at both ends.
His account of an agency owner sharpens the problem. One designer serves several clients. A banner turns out to need three languages. Product photographs arrive late. Paid client work takes precedence, so the agency’s own social calendar slips until the planned posts are out of date. The designer has performed well. The queue has expressed the company’s priorities with embarrassing precision.
That is a revealing choice of story for Mehta to tell. He gives the worker credit and turns attention towards the arrangement of the work. His commercial argument rests on something readers can inspect in their own calendars: the jobs that keep moving may have no person waiting loudly enough for them.
- 01Work arrives in burstsLaunches and late requests share the calendar.
- 02The queue choosesWaiting clients move ahead of internal work.
- 03Something givesPlanning time becomes production time.
An afternoon is still an afternoon
His discussion of AI follows the same interest in who is doing the work. A marketing lead can now make a campaign’s adaptations personally. What once required a separate request becomes manageable in an afternoon. That convenience can establish a habit: each campaign arrives, and the same person spends another afternoon producing its variations.
Mehta describes a conversation about what those afternoons displaced. Campaign settings went unchecked. A landing page and its advertisement drifted apart. These are the examples he uses to argue that easier production still has an opportunity cost. The ability to complete a task does not settle the question of where it belongs.
He has an obvious business interest in delegation. Delesign sells access to creative professionals. His argument deserves to be read with that commercial purpose in view. It is also a useful description of how responsibilities accumulate: the small task is accepted because it is possible, then accepted again because it was possible last time.
Elsewhere, he writes about a marketing manager spending part of the week inside design software. The work has crept into the role without a clear decision. He asks readers to consider the campaign that was never planned, or the email that received less thought, because asset production consumed the available hours.
Mehta’s attention falls on the lost alternative. A resized image can be counted. An unplanned campaign leaves a much fainter trail. His writing tries to make that missing work visible, giving an ordinary Wednesday a place in the argument alongside budgets, briefs and deliverables.
Three colours, fewer arguments
He also writes about design at the level of the individual decision. Consider a palette with three colours. In Mehta’s explanation, the number forces a hierarchy: a dominant colour, a supporting one, and a smaller accent. Rough proportions of sixty, thirty and ten give the next person opening a file something more useful than a list of approved shades.
That interests him because the decision survives beyond the first asset. A brand can approve its palette and still produce unrelated-looking work if everyone invents the proportions afresh. The discipline sits in choosing what receives space and what receives emphasis. Permission to use a colour is only the beginning of an instruction.
A palette needs a pecking order. Illustrative proportions from Mehta’s discussion of colour hierarchy; colours shown are this page’s.
Another example is a filled shape behind the main element of a design. He describes how a circle or square can frame the subject, add depth and guide the eye. His concern is the viewer’s first point of attention. A modest graphic move gets a practical explanation, without requiring the rectangle to develop a personal philosophy.
In a discussion of a website rebrand, he concentrates on clearer hierarchy, spacing, calls to action and readability. The business and its offer remain recognisable. The presentation gives visitors a less demanding route to understanding them. This is Mehta treating design as a series of decisions that should make somebody else’s decision easier.
A portfolio with a common customer
The ventures around him extend beyond creative services. NexaSky presents its business as acquiring and growing small ecommerce websites, with sellers able to remain involved or exit. Its team description gives Ankesh Kothari the strategy-and-planning emphasis, Sherul marketing and sales, and Shaival technology and operating processes.
In September 2023, Growth Daily announced an agreement to sell DTC Daily to NexaSky. The newsletter had an audience of more than ten thousand ecommerce executives, founders, store owners and marketers, according to the announcement. Mehta, identified as a NexaSky shareholder, described the purchase as a way to get closer to businesses that could use its services.
A design subscription, an invoicing app and a newsletter occupy different parts of the working day. Their connection is the business owner using them. The acquisition announcement places Delesign alongside Invoice Falcon in that broader picture. Mehta’s responsibilities run through the commercial relationships between those ventures and the people they serve.
The other kind of team sheet
There is another public record beside the business biography. Mehta has represented Belgium in T20 international cricket. His recorded appearances include fourteen runs against Luxembourg in August 2020 and scores of six and forty against Malta in July 2021. Three matches, sixty runs, two catches: a small, specific scorecard with no need for entrepreneurial decoration.
The Belgian Cricket Federation lists him as the 2019 National League Division 1 Best Batsman and Most Valuable Player. It also records his Best Batsman recognition in the 2023 Flemish Open League Division 2. Cricket is a continuing part of the picture, with its own standards and its own accounting.
In his 2022 conversation, Mehta called himself an introvert and spoke about family, travel and sport. Those details sit comfortably beside the more public business role. His career has moved between institutions, a family trade and acquired companies. The weekly problems he describes remain recognisable: people, deadlines, attention, the next task waiting its turn. Tuesday, apparently, still requires management.