Ky thuat may tinh

i S S U e 24 4S e p t e m b e r 2 0 1 5 d i g i ta l e d i t i o n p r o d u c e d i n t h e u K

fe aturing

editor ’s let ter

twitter.com/computerarts

facebook.com/computerarts

keep in touch with…

computerarts.creativebloq.com- 4 -

W E L C O M E s e p t e m b e r 2 0 1 5

dave wood Dave is design director at GbH, where he works across multiple disciplines for clients including virgin Galactic, puma and the america’s cup. He also enjoys teaching, and is a regular visiting lecturer at arts university bournemouth. Follow his workflow on page 83. www.gregorybonnerhale.com

thomas danthony thomas is an illustrator from montpellier in the south of France. He lives in london, where his studio is based, and works on everything from advertising to editorials for international clients such as Google, liberty, the New republic and Netflix. see his project diary on page 87. www.thomasdanthony.com

be kaler interactive talent-spotter be is co-founder and director of digital recruitment consultancy Futureheads, and has over 15 years’ experience recruiting for digital roles. she offers invaluable advice on getting paid what you deserve in a special feature, over on page 42. www.wearefutureheads.co.uk

michelle phillips michelle is co-founder of berlin-based Yukiko, which she has been running with Johannes conrad since 2012. We chatted to the two of them to find out how and why they moved from brighton to Germany’s capital: turn to page 66 to read all about it. www.y-u-k-i-k-o.com

mystery meat the so-called mystery meat phenomenon began after a drunken punch-up between two best friends in Golden square, soho, london. they settled their differences by teaming up and collaborating on thought-provoking imagery. You can admire their work on this issue’s cover and on page 42. www.mysterymeat.co.uk

Are you paid enough as a designer? It’s a compelling question, and not an easy one to answer. Our lead feature in this Money special tackles it head-on, with top advice for negotiating what you deserve as well as useful benchmarks for different jobs, sizes of studio and key countries around the world.

We’ve also been conducting our own research: the CA Creative Salary Survey 2015 reveals how much different roles are paid, what percentage have enjoyed a pay-rise recently, how much it was, and most importantly, why they got it. Find out how to download our analysis of the results on page 49.

Of course, it’s not all about salaries. Our special report this issue reveals how leading studios approach the dark art of budgeting to ensure they wring the maximum possible creative impact from every client’s available cash – spending smarter, while still making the right amount of profit. There’s even a handy guide to some of the tools on offer for keeping track of it all over on page 94.

Next issue, we reveal the winners of our second-annual Brand Impact Awards in an extended piece, that also pools their collective wisdom to bring you over 80 ways to improve your own branding work. Seats at the awards ceremony on 16 Septembner are still on sale, and you don’t have to shortlisted to attend: book yours now at www.brandimpactawards.com.

nick [email protected]

Tim HarDwickOPERATIONS EdITORTim also attended a stag weekend, this one in the Brecon Beacons for a serious mountain biking sesh on the Brechfa trails. Inevitably he went over the handle bars but somehow came out miraculously unscathed.

julia sagar COMMISSIONING EdITORJulia bought a house at auction that’s held together in places by sellotape. She’d like to tackle the overgrown garden by setting it on fire, but she was told by everyone she consulted that she’s not allowed.

scoTT williamsdESIGNERThis issue the CA team welcomed Scott into the fold to gain some work experience in the editorial business, as part of his design course at the University of Worcester. Thanks for all your help, Scott!

Nick carsoNEdITORThis month Nick successfully completed the Frome half-marathon and also participated in clay-pigeon shooting, beach cricket and sea kayaking over the course of a manic stag weekend. He’s sore all over.

jo gulliverART EdITORJo has been mainly coughing this month and probably kept up everyone else in the camping site she stayed at in St Ives. She may have swallowed an earplug while sleeping too, but her cough’s been better ever since.

All contents copyright © 2015 Future Publishing Limited or published under licence. All rights reserved. No part of this magazine may be reproduced, stored, transmitted or used in any way without the prior written permission of the publisher. Future Publishing Limited (company number 2008885) is registered in England and Wales. Registered office: Registered office: Quay House, The Ambury, Bath, BA1 1UA. All information contained in this publication is for information only and is, as far as we are aware, correct at the time of going to press. Future cannot accept any responsibility for errors or inaccuracies in such information. You are advised to contact manufacturers and retailers directly with regard to the price and other details of products or services referred to in this publication. Apps and websites mentioned in this publication are not under our control. We are not responsible for their contents or any changes or updates to them. If you submit unsolicited material to us, you automatically grant Future a licence to publish your submission in whole or in part in all editions of the magazine, including licensed editions worldwide and in any physical or digital format throughout the world. Any material you submit is sent at your risk and, although every care is taken, neither Future nor its employees, agents or subcontractors shall be liable for loss or damage.

We are committed to only using magazine paper which is derived from well managed, certified forestry and chlorine-free manufacture. Future Publishing and its paper suppliers have been independently certified in accordance with the rules of the FSC (Forest Stewardship Council).

EditorialNick carsoN EdITOR [email protected]

Jo GullivEr ART EdITOR [email protected]

tim HardwickOPERATIONS [email protected]

ricH cartEr dESIGNER [email protected]

Julia saGarCOMMISSIONING [email protected]

sammY maiNEdEPUTY COMMISSIONING [email protected] alicE pattilloSTAFF [email protected]

domiNic cartErSTAFF [email protected]

coNtributors Rob Alderson, Zaneta Antosik, Laura Jordan Bambach, Tom dennis, FranklinTill, GBH, Michael Molfetas, Mystery Meat, Snask, Matthias Steffen, Ben Tallon, Anna Richardson Taylor, Jonathan Williams, Scott Williams, Anne Wollenberg, Michael Paul Young

advErtisiNGSASHA MCGREGOR Ad [email protected]

SUZANNE SMITH Client [email protected]

productioN & distributioNVIVIENNE CALVERT Production controllerMARk CONSTANCE Production manager

Printing: William Gibbons & Sons Ltd Finishing partner: Celloglas Distribution: Seymour distribution, 2 East Poultry Avenue, London EC1A 9PT, Tel: 0207 429 4000 Overseas distribution: Seymour International

circulatioN JULIETTE WINYARD Trade marketing manager: 07551 150 984

subscriptioNs CHARLOTTE LLOYD-WILLIAMS direct marketing [email protected]

Uk readers: 0844 848 2852 Overseas readers: +44 (0)1604 251045 Online enquiries: myfavouritemagazines.co.uk [email protected]

licENsiNGREGINA ERAk International director [email protected]

Tel: +44 (0)1225 442244Fax: +44 (0)1225 732275

maNaGEmENtNIAL FERGUSON Content & Marketing director MATT PIERCE Head of Content & Marketing, Photography, Creative & design DAN OLIVER Group editor-in-chief, Creative & design RODNEY DIVE Group art director, Photography, Creative & design TOM MAY Group content editor

NExt issuE oN salE 18 September 2015

Want to work for Future?Visit www.futurenet.com/jobs

FUTURE PUbLISHING LTD, QUAY HOUSE, THE AMbURY, bATH bA1 1UAPHONE 01225 442 244 FAx 01225 732 275EMAIL [email protected] WEb computerarts.creativebloq.com

priNTers text and cover cMYK, PLUS Pantone 3262 (teaL), Pantone 116 (darK YeLLoW) and Pantone 1205 (LIGHt YeLLoW)William Gibbons

PrInt FInISHInG Partner:

papercover Precision Special Gloss FSC 250gsm

P3–74: Galerie Fine FSC 115gsm

P83–98: GraphoInvent 75gsm

p r oduc t ion no t e s

s ta f f c on t r ibu t or s

Future is an award-winning international media group and leading digital business. We reach more than 49 million international consumers a month and create world-class content and advertising solutions for passionate consumers online, on tablet and smartphone, and in print.

Meet the te aM

ricH carTerdESIGNERRich has been up and down the country recently, first visiting Brighton where he tried a bit of rock climbing, and then driving up to Newcastle to meet his other half’s extended Geordie family. Purely belter, like!

TypefacesTrump Gothic West, Neutraface Text & display, Calluna

COMPUTERARTS.CREATIVEBLOq.COM- 6 -

s e p t e m b e r 2 0 1 5M E E T T H E T E A M

I S S U E 2 4 4S E P T E M B E R 2 0 1 5


s e p t e m b e r 2 0 1 5

ShowcaSEour selection of the world’s best new graphic design, illustration and motion graphics work 30

12 Trends: customised knitted wool garments on demand from london design studio Knyttan

15 Places: illustrator Daniel stolle maps out a trip around tampere, Finland, and has it all perfectly timed

16 PeoPle: mr bingo chats about his crazy Kickstarter, plus a root around illustrator steve simpson’s studio

18 evenTs: Highlights from shillington’s graduate show, plus the summer screen prints movie poster exhibition

22 end The blame game: laura Jordan bambach calls for action against the continuing inequalities between men and women in the creative industries

26 ride The cash rollercoasTer: london-based illustrator ben tallon offers his freelance strategy for survival in the face of late-paying clients

28 beware of The bundle: YouWorkForthem’s michael paul Young laments the mainstream trend of selling font bundles at massively cut-down prices

83 arT direcT a global sPorTs camPaign: Follow GbH’s Dave Wood in the print execution of arsenal Fc and puma’s 2014-15 kit launch

94 geT on ToP of your cashflow: all the tools, services and utilities you need to master your creative budgeting, from time management to workflow

c Ult Ur E

InSIgh t

V IDE o wa l K t hr oUgh

nE E D t o K no w

ProjEct DIarIESa bold rebrand to put cancer researchers out of a job, some summer-inspired drink/drive posters, plus a 360-degree installation in a dome 75

49 are you really Paid whaT you deserve? download The resulTs and find ouT

cr E at I V E S a l a r Y S Ur V E Y 2 0 15

page://12

page://15

page://16

page://18

page://22

page://26

page://28

page://83

page://94

page://30

page://75

page://49

C O N T E N T S

SPEnD SMartErrevealed: the key financial lessons that successful studios had to learn to turn creativity into cash 54

StUDIo YUKIKomichelle phillips and Johannes conrad discuss why they upped sticks from brighton to found a studio in berlin 66

i n c o n v e r s at i o n

gEt PaID what YoU DESErVEFrom nailing salary negotiations with a new employer to learning skills that sell, here’s how to increase your slice of the pie as a designer 42

s p e c i a l r e p o r t

i n d u s t r y i s s u e s


s e p t e m b e r 2 0 1 5

GmuNK: creator of stylised environments

Generate music video for DJ eric prydz

We chat to the design director who’s carved a stylish niche for manipulating light into stunning experiences 50

VIDEo InSIght: gMUnK

Three great ways to subscribe to the world’s best design mag:• Print • Digital • BothSee page 40

SUBScrIBE anD SaVE UP to 54%

page://66

page://60

page://46

page://44

page://42

page://66

page://54

page://50

page://40



Democratised fashion is the next frontier in custom clothing, as new technologies and the internet transform the industrial process, enabling

consumers to put their unique stamp on branded products. Encouraging customers to make their wardrobe their own, knit design studio Knyttan offers fully customised knitted wool garments on demand.

The service has three basic models, for a jumper and two sizes of scarf. Users choose the item they want to customise, then pick the pattern they want knitted: a simple repeated pattern, such as a grid or a herring-bone, or one of several special editions by designers including London artist Kate Moross and Amsterdam studio Moniker.

Using the intuitive editing software on Knyttan’s website, customers select from predetermined colour palettes and otherwise manipulate the pattern before sending their item to the knitting machines. Each piece of clothing comes with a label bearing both the designer’s and the customer’s names, and is knitted, hand finished and delivered within four days.

www.knyttan.com

Each month, our Trends section is curated by experienced creative consultancy FranklinTill (www.franklintill.com).

democratised FashionKnit design studio Knyttan enables its customers to customise wool garments on demand

W E L O V E . . .

no designer should be without a stencil or two. Whether it’s for sketching that initial concept or crafting a bespoke

pattern, the humble age-old instrument is always at hand – you don’t even have to switch it on.

Brooklyn-based designer Leandro Castelao’s abiding love for this “analog version of Illustrator” spurred him to create his own stencil for shapes he uses often. Initial designs were cut from cardboard so Castelao could find the combination he liked the most, but he also wanted the stencil to be durable and pleasing to the eye. Over two months and 50 designs later,

the Template of Particles was born – a nine-shape stencil made from 100 per cent brass, hewn using the same process developed by car companies to make small, precise car parts.

The Template’s shapes can be combined to form myriad images, both simple and complex: fill them in or use their contours, overlap the lines or repeat them to infinity, or flip the stencil and recombine the shapes in their mirrored forms.

The foil-stamped envelope packaging is as elegant as its contents, and showcases just a few of the many creations made possible by the Template of Particles.

Leandro Castelao’s Template of Particles brings geometric joy to any design space

MAKING SHAPES

product: Template of Particles is a nine shape brass stencil measuring 5.2x1.2-inches and .04-inches thick, in a limited edition of 200.www.leandrocastelao.com

coSt: £26

D E S I G N E D F O R L I F E

S E P T E M B E R 2 0 1 5

COmPuTerarTs.CreaTIveBLOq.COm- 14 -

CULTUR E T R E N D S

mainsTREam Emojis are fast taking over the marketing world, with brands now creating their own emoticons.

sTiLL FREsH Technical knits are inspiring surface pattern and texture for a whole range of textiles and bespoke fashion items.

EmERging Virtual and augmented reality interfaces are inspiring a return to three dimensional fonts.

T R E n D i n gStay one step ahead with our barometer of visual cool

Illu

stra

tIon

: mic

hael

mol

feta

sw

ww

.mic

hael

mol

feta

s.co

m

Access our google mAp At bit.ly/cAtampere

S t r e e t v ie w

Galleria rajatilaHämeenpuisto 10, 33210www.rajataide.fiA gallery owned by a local collective, showing mostly works by young Finnish artists. It also houses a small selection of local comics, catalogues and art books.

lenin MuseoHämeenpuisto 28, 33200www.lenin.fiThe only museum about Vladimir Ilyich in the Western world, located in the building where Lenin and Stalin met the first time, when Finland was still part of Russia. The exhibition has a mimeographed charm – and is (in a good way) definitely not over-designed. It also has the sofa Lenin slept on during his visit to Tampere.

K-MarKetsatamakatu 8, 33200 www.k-market.fiThis simple K-Market is one of thousands in Finland. But this one’s housed in a building that looks like an art deco spaceship (from the right angle at least). My working room was right around the corner from here – fond memories!

eteläpuistoeteläpuisto, 33200www.etelapuisto.fiThis is as close as you can get to nature inside a city. It’s earmarked for development as a fancy residential area. Start your trip while it’s still public land; go towards Pyynikin Näkötorni from here and enjoy the view on lake Pyhäjärvi.

pyyniKKi observation tower CafĒ

Näkötornintie 20, 33230www.munkkikahvila.netA cafeteria in the base of an observation tower. The speciality is ‘munkki’, a kind of doughnut which by Finnish law is only taken with coffee! The smell of munkki greets you halfway up the mountain.

Daniel Stolle was born in Germany but now resides in Finland. He’s been an illustrator since 2007, specialising in editorial work for clients such as Men’s Health, The New York Times and The Times. www.danielstolle.com

Illu

stra

tIon

: Tom

Woo

lley,

ww

w.to

mw

oolle

y.co

m

s e p t e m b e r 2 0 1 5

coMpuTerarTS.creaTivebloq.coM- 15 -

P L A C E S CULTUR E

Tampere, Finland illustrator and Finland resident Daniel stolle invites you to take a tour around the southern city of Tampere. visit the locations in the order below and your total walking time should be no more than an hour at a leisurely pace

C R E AT I V E q u A R T E R S

Eleni Kalorkoti is a Scottish illustrator living in London, drawing angular things with ink.

www.elenikalorkoti.com


CULTUR E P E O P L E

TomboyiSh, SECond hand, SimpLE, Lazy

M y s t y L E I s . . .

Illu

stra

tIon

: Jon

atha

n W

illia

ms,

ww

w.jo

nath

anw

illia

ms.

co.u

k

dR maRTEnS 1416 ShoESAs a freelance illustrator you can

mark the good times as those when you can afford to buy a new pair of Docs. These ones

make me an inch taller, which is everything I look for in a shoe.

bLaCK jEanSI’m trying to whittle my wardrobe down to some sort of uniform in

order to cut out stressful getting-dressed time. It’s not going very

well, but I have managed to narrow my lower half down to black jeans.

hand nECKLaCE This great necklace from Datter

Industries seems to have become the default illustrator’s talisman, whenever I go to an event I see

them everywhere! No wonder – it gives you drawing powers.

No stranger to offbeat dark humour, Mr Bingo made post fun again with his ingeniously

offensive Hate Mail service – and recently set up a Kickstarter page (fronted by a quite incredible rap video) to fund a retrospective book of the project. Imaginative incentives ranged from having Mr Bingo do your washing up, to getting drunk on a train with him, to being his friend for a year. Having set out to raise £35k in a month, he smashed it within just nine hours, and the counter kept ticking – eventually exceeding £135k. We caught up with the inimitable Shoreditch-based illustrator to find out more...

What’s Hate Mail all about?people (strangers) pay me to send them offensive postcards. since april 2011, i have sent 928 postcards. it started as a drunken joke, then got really popular. too popular in fact, so the service is almost always closed, but it opens a couple of times a year for a few minutes and people that happen to be online at the right time manage to get some.

Where do you get your inspiration? everywhere, really. i hate people. there

post pest N E W V E N t U R E s

Despite the popularity of his Hate mail project, Mr Bingo never expected the related Kickstarter to smash its target, raising an eye-watering £135k

are loads of people in london (where i live), so there’s plenty of inspiration.

Has anyone ever complained that you’ve gone too far or touched a nerve?No. if you order a service called ‘Hate mail’ though and you’re offended by it, that’s as dumb as complaining that a restaurant served you food.

Why do you think people like getting Hate Mail?i’m not sure, really. You’ll probably have to ask a psychologist.

Are you surprised that you’ve exceeded your target by over 100 grand?Yes i am. very. i’ve never done a Kickstarter, so i was really shocked when it went up so fast. When it hit the target i missed it, as i was drunk on a tube train. i came up to the surface, checked my phone and was like “WHaaat?”. Nine hours to reach a funding target is madness. i’m super chuffed.

How long does it take to make a Hate Mail postcard?i’d say between half an hour and half a day depending on the complexity of the accompanying artwork.

Hate Mail has been a huge success. Can we expect bigger-scale projects?cheers. i don’t have any plans for bigger projects. i like small things. big things scare me – i should try some though. but now i’ve seen what crowdfunding can do, the possibilities are endless!

www.mr-bingo.org.uk

mr bingo lovesto hate people;photographby claudia rocha


thrifty-chic m y d e s i g n s p a c e i s . . .

enter Steve Simpson’s creative Dublin cubbyhole, where magic happens amid the jumble and art tools are an arm’s length away

15

2

a rranging your design space isn’t easy. There’s a fine line between creative effort and trying just that

little bit too hard. Freelance illustrator and designer Steve Simpson got around the problem by simply allowing his creative space to evolve organically.

“I can’t really say my studio has been ‘designed’,” admits the British-born creative, who moved to Dun Laoghaire, Ireland six years ago and now works in an old Georgian building located one hundred yards from the seafront and only a 15-minute walk from home. “It pretty much grew into its current state. I just love rummaging around junk and charity shops, so the look has become a bit ‘thrifty-chic’. When I see something old and handmade I can’t help thinking about the person who made it and how amazing it would be to know the story behind it.”

Of course, from the outside looking in, Simpson could just as easily be talking

about his own studio. We ask him about the Danger Mouse and Penfold figurines (1) next to his iMac, for instance, and glean an insight into his TV animation days: “I left art college in 1986 to take up a job working at Cosgrove Hall’s animation studios in Manchester,” Simpson reveals. “The highlight of my first day was painting a few seconds’ worth of Danger Mouse cells (probably badly) – I was only 19 and couldn’t believe my luck.”

As luck would have it, Simpson’s switch from technical illustration to animation cells helped him develop a highly flexible style built on traditional drawing skills, which is why there’s no shortage of sketchbooks to hand. (2) “My favourite thing to draw in are these beautiful Flexbooks,” he says. “I fill about three of them every year with both personal and client work.”

The process of refining sketches before scanning takes place on his old lightbox (3) which also harbours an intriguing tale.

“I salvaged (or possiby stole) this about 20 years ago from Fred Wolf Films in Dublin, where I worked as art director for a period. It had been specially made for the studio when they were working on Teenage Mutant ‘Hero’ Turtles. The fluorescent bulb has never been replaced,” he admits. But its age has been savoured, much like the Jameson’s Whiskey that takes pride of place on Simpson’s desk (4). From the time he started working on the bottle’s design, to it finally hitting the shelves, took 21 months: “It was hard keeping quiet about one of my favourite design jobs! I love getting samples of things I have worked on.”

The same goes for the Meaty Pillow (5)on display, although in this case Simpson supplied his own sample: “I printed, sewed and stuffed this range of five cuddly cow cuts for a bovine illustration show I had a couple of years ago,” he explains. “They are great for power-napping on.” www.stevesimpson.com

3

steve simpson isan award-winningdesigner and illustratorworking for a rangeof high-profile clientsacross the globe.originally from thenorthwest of england,he has lived in Dublinfor the last 25 years.

4

Bringing our 2015 design graduate show coverage to a close, Nick Carson pays a visit to Shillington’s bustling Shoreditch finale to meet another talented batch of freshly-minted creatives

SHARP, SAVVY AND INDUSTRY-READY

E v E n t R E p o R t: S H I L L I n G t o n L o n D o n G R A D S H o W flowers, Sher-Gill dismissed this as being too traditionally feminine and opted for a more scientific, botanical route instead – eventually settling on ‘Anther’ as a name.

“It’s part of a plant, but I also liked the fact it’s androgynous,” she explains. The logo is formed from manipulated hexagons, referencing plant cells – with four different seasonal iterations.

While Sher-Gill set out to apply the more abstract, academic background of her first degree to a commercial industry, fellow graduate Alma Mosquera chose a total career change. Originally hailing from Panama, she shifted from psychology to graphic design, and describes the course as “pleasantly intense”.

Like Sher-Gill, she acknowledges that her background helps inform her process: “At the moment I hit that dead-end wall of ideas, being trained in psychology can be very handy,” she smiles.

Mosquera’s handcrafted approach to design is particularly evident in The Little Prince, an illustrated book produced while at Shillington. After brainstorming the emotions she experienced while reading it, she selected three keywords: ‘Alone’, ‘Hope’ and ‘Adventure’.

“I used a fish bowl to represent a mind, with all the main characters inside it,” she reveals. “The interpretation of

Those of you who picked up our New Talent special last month will know CA has been trawling

the country since May to find the best design graduates. The final event in our talent-scouting calendar came courtesy of Shillington, with a packed showcase event in the heart of Shoreditch.

Fast-gaining traction in the industry as a viable alternative to full-blown university courses, Shillington offers two options: an intensive three-month full-time course, or a nine-month part-time alternative. Either makes an attractive choice for mature students looking for a change of career direction: an intense, vocational burst without the time and cash investment of three years at university, where it’s also possible to hold down a job.

One such example is Lia Sher-Gill, who has worked at London’s Natural History Museum since graduating from Warwick with a History of Art degree, and continued to do so during the course.

“It was definitely intense – when people ask, I say it’s ‘graphic design fat camp’ – but I relished living and breathing design for three months,” she grins. Her academic background informs her approach, with influences from art and design history weaved through her work.

One of Sher-Gill’s Shillington briefs was to brand a boutique florist in a non-traditional, contemporary way. “I made a set of rules to ensure the brand was distinctive from its competitors,” she says.

While her naming research initially led her towards goddesses associated with

Issue two of the Shillington Post newspaper

S E P T E M B E R 2 0 1 5

comPuterartS.creatIveBloq.com- 18 -

CULTUR E E v E n t S

Location White rabbit Gallery, Shoreditch, londonshillingtoncollege.co.uk

WhEn 23 July 2015

FEatURED GRaDUatESJim oliveralma mosqueralia Sher-Gill

KEY inFo

Jim oliver’s brochure for the BFI Fashion-Film Festival

the little Prince, by alma mosquera

the illustration is that to solve problems sometimes we should let ourselves, dream; imagine; be a child without fear,” she adds. “We can accomplish more like that than by acting as adults 24/7.”

A third graduate, Jim Oliver, worked as a senior brand manager for a greetings card business in a previous life. “I’d had a great career in marketing, and was lucky enough to work in a creative business, but always yearned for a creative career for myself,” he recalls. “I didn’t want to look back on my life and regret never trying.”

Oliver relished the chance to tackle a diverse range of briefs, and particularly enjoyed creating a brochure for a BFI Fashion-Film Festival. “I felt there was a very obvious style I could have gone with, but tried to push myself to take it somewhere original,” he explains. “My concept was the idea of film shining a spotlight on the fashion industry, revealing aspects we might not normally see.”

He has nothing but praise for the final show: “I have been bowled over by the level of credibility that Shillington seems to have garnered in the industry, so it was reassuring to see lots of opportunity presenting itself,” he concludes.

“It’s also a celebration of a lot of effort and achievement, all in a crazy-short amount of time.”

S E P T E M B E R 2 0 1 5

comPuterartS.creatIveBloq.com- 19 -

E v E n t S CULTUR E

E v E n t n E W S : S u m m E R S c R E E n p R I n t S 2 0 1 5

back for its third year, Film4’s Summer Screen comes to Somerset House for 14 nights

of classic, cult and contemporary films, and with it returns the film poster exhibition Summer Screen Prints, which proved so popular at last year’s outing.

The exhibition was formed from a collaboration between Film4 and printing publishers Print Club London, and features a series of limited edition, signed contemporary works by some of the brightest and best artists and illustrators from the UK and abroad. Each exhibiting artist was hand-picked to represent a range of styles and each one tasked with re-imagining a poster for one of the films in the Summer Screen programme, taking particular scenes, quotes or characters from their selected titles as inspiration.

This year’s line-up of 15 artists includes renowned French illustrator Lucille Clerc, who recently rose to prominence following the Charlie Hebdo tragedy for her work entitled ‘Yesterday, Today, Tomorrow’. Clerc will be designing a poster for the opening night premiere Gemma Bovery.

canvassing moviesartists at the Summer Screen Prints exhibition get set to revision posters for some of cinema’s most iconic movies

The Summer Screen Prints exhibition also features street artist RYCA, who is re-interpreting the poster for cult classic Withnail & I, while illustrator Ben Rider brings his punk-inspired aesthetic to Werner Herzog’s epic Aguirre, Wrath of God. Elsewhere Cassandra Yap re-interprets the poster for Quentin Tarantino and Tony Scott’s True Romance, and Rose Blake brings her bold, playful style to romantic tragedy West Side Story.

Talented draughtsman Joe Wilson will also be illustrating the poster for Film4 Summer Screen’s first screening of the Studio Ghibli masterpiece Princess Mononoke. “I chose to tackle Princess Mononoke as it’s one of my all-time favourite films,” says Wilson. “It’s essentially a comment on nature versus man, so I wanted that feeling of wilderness to come through in the poster, as well as trying to draw the characters in my own style.”

Some 200 limited edition posters are available to buy from the exhibition, which runs until 23 August, as well as through the Print Club London website for £50 each.www.printclublondon.com

IMAG

E: G

emm

a B

over

y (c

) luc

ille

cle

rc

S E P T E M B E R 2 0 1 5


CULTUR E E V E N T S

a two-day affair. This means you’ll get even more insights and advice from top-class speakers, including Eric Meyer, John Allsopp, Josh Payton, Sara Soueidan and more.

London dEsign FEsTivaL 19-2 7 SEp T EmbErVarious venues, Londonwww. londondesignfestival.comFirst staged in 2003, LDF is one of the world’s most hotly anticipated annual design events. The festival programme is made up of more than 350 exhibitions, installations, talks and debates that are staged by hundreds of partner organisations from across the design spectrum.

gLobaL dEsign FoRUm19-2 7 SEp T EmbErSouthbank Centre, Londonwww.globaldesignforum.comStaged during and organised by the London Design Festival, the GDF is the agenda-setting event for design, and aims to challenge established thinking by presenting key global issues and linking them to opportunities in the design sector. David Adjaye will design an installation for Somerset House as part of the Festival, which also features Wolfgang Buttress, the designer behind the UK Pavilion at Milan Expo 2015.

KyooRiUs dEsignyaTRa 10-12 SEp T EmbErGrand Hyatt, Goa, Indiawww.designyatra.kyoorius.comThis year India’s premier design conference explores creative passions with the theme slogan, ‘What pumps your heart?’ The get-together attracts some of the biggest names in the creative and communications industries not just from Asia, but around the world.

bRand imPaCT aWaRds16 SEp T EmbErGrand Connaught Rooms, London www.brandimpactawards.com Computer Arts’ annual celebration of the very best branding from around the world comes to a head with a glittering awards ceremony, attended by a roll-call of world-class agencies whose collective client list reads like a who’s who of global brands.

gEnERaTE London1 7-18 SEp T EmbErGrand Connaught Rooms, Londonwww.generateconf.com Creative Bloq and Computer Arts’ sister magazine, net, brings the Generate conference for web designers back to London. A source for inspiration, education and networking, this year’s event is

bRand nEW ConFEREnCE24 -25 SEp T EmbErLower Manhattan, New Yorkwww.underconsideration.comHosted by UnderConsideration, this two-day event focuses on the development of corporate and brand identity projects by some of today’s most active and influential practitioners from around the world. Speakers this year include Etsy’s Julia Hoffman and Snask.

HoW inTERaCTivE dEsign ConFEREnCE05-07 Oc T ObErChicago, USAwww.howinteractive conference.comBilled as the web conference for designers, HOW brings together interactive designers behind blockbuster web design projects for the likes of Google, Etsy, Fitbit and more. Through a mixture of talks and workshops, speakers will demystify concepts, share design processes that you can include in your own work, and highlight hot web design trends and tools.

sEnsEs & sEnsibiLiTy05-07 Oc T ObErLisbon, Portugalwww.iade.pt/unidcom/senses2015This conference is an international forum for sharing and exchanging information which embraces the theoretical, applied and related areas of design and marketing. Strands will be delivered in parallel sessions through keynote presentations. Themes include culture and design, sustainability, future trends and innovation.

aiga dEsign ConFEREnCE08-10 Oc T ObErHyatt Regency, New Orleanswww.designconference.aiga.orgThe AIGA conference brings the design community together to

Kyoorius Designyatra returns with buckets of creative passion as we head into autumn, with oFFset london taking the schedule into November promising a raft of top notch speakers

W h aT ’ S O N

experience provocative speakers, local culture, nightly networking receptions and competitions, including Command X, in which emerging designers face off in head-to-head battles. Exhibitions, professional development sessions and face-to-face roundtables with design heroes also feature.

FoRgE ConFEREnCE09 Oc T ObErPhiladelphia, Pennsylvania, USAwww.forgeconf.comForge is a conference focused on user experience and design in digital products. The largest conference of its kind in Philadelphia, Forge’s attendees and speakers are made up of bright practitioners that specialise in user experience, design, and product management for some of the world’s most innovative brands..

inTERaCT London20-2 1 Oc T ObErThe British Museum, Londonwww.2015.interactconf.comInteract London is a bespoke event that explores the importance of design and the roles that UX and IA play in today’s digital society. The speakers and talks presented represent a mix of ‘philosophy and practice’ from some of the most accomplished thinkers and practitioners in their fields who believe design makes a difference..

oFFsET London12-13 NO V EmbErShoreditch Town Hall, Londonwww.iloveoffset.comOne of the most well-regarded creative events around is back and looks set to build on past successes regularly drawing in 2,000 delegates. Speakers this year include McBess, Seb Lester, Graphic Thought Facility and Morag Myerscough.

dates for your diary

s e p t e m b e r 2 0 1 5

laura jordan bambachcreative partner, mr presidentwww.mr-president.co.uk

ben tallon freelance desiGnerwww.bentallon.com

michael paul youngfounder, youworkforthemwww.youworkforthem.com

bruno maagfounder, dalton maaG

sabrina smelkoillustrator and art director

craig ward desiGner and art director

mark bonner president, d&ad

ben tallonfreelance desiGner

louise sloper head of desiGn, chi & partners

Laura Jordan Bambach calls for action against the continuing inequalities between men and women in the creative industries

how we can tackle gender imbalance

Strong opinion and analysis from across the global design industry

regular WrITerS

THIS MONTH

s e p t e m b e r 2 0 1 5


l a u r a j o r d a n b a m b a c h InsIght

david Cameron has vowed to eliminate the gender pay gap in the UK. The government is bringing forward rules to make firms

with more than 250 workers reveal their average pay per gender, after only five of 270 businesses currently signed up to 2014’s pay disclosure scheme ‘Think Act Report’ reported publicly on their pay gap.

Within the advertising industry the IPA is championing a similar sharing of agency wage figures as a way of drawing attention to the direct and indirect discrimination, which means that the gender pay gap is still an issue.

Almost 50 years ago, the Dagenham machinists led a strike that sparked the Equal Pay Act in 1970. But women still earn less than men in Britain. The gender pay gap stands at 19.1 per cent (2014). We are above the EU average of 16 per cent. Whereas other areas of employment opportunity for women have opened up, the pay gap has remained largely unchanged over the last 20 years – a clear and dramatic example of the economic inequality and parallel power imbalance that women face.

In the creative industries in the UK the gap is 12 per cent. According to the Office of National Statistics, a man who earns £32k in our industry is paid £3k more than a woman doing the same job. This direct discrimination is contrary to the Equal Pay Act, and measures such as those being proposed will help flush this out; but the gender equality conversation is a complicated one, with many contributing factors. There is a lot of contradictory research, and editorial, as to its causes and importance. Even its existence.

And we have an even bigger problem in creative businesses (particularly in design, tech and advertising creative) – one of the most unbalanced ratios of men to women of any industry. For example only 8 per cent of creative directors in the UK are women. And it’s not just at the top. Though students of art, design, advertising and related courses are roughly 50/50, that drops immediately in the workplace to around 60/40. And continues to fall steadily. We are one of the least diverse industries across gender, race, class and disability. There’s been a lot of debate, particularly online, over whose ‘fault’ this is. We hear that women ‘choose’ to work part-time or take less demanding roles, that biology takes over and they are overcome by the desire to have children; that if women aren’t paid as much it’s because they aren’t as good – because our industry is of course based completely on merit.

The blame game goes on.

“instead of throwing blame, we should be looking at what we can all do within our own studios and agencies to eradicate not just the pay gap, but the gender imbalance”

But instead of throwing blame, we should be looking at what we can all do within our own studios and agencies to eradicate not just the pay gap, but the gender imbalance. At Mr President, we know that having a balanced workforce makes great business sense. A diversity of experiences within the agency means more interesting ideas, and better problem solving. We have a good balance of men and women across the board, because we’ve shaped our agency around treating all of our staff like grown-ups.

We believe in the importance of doing things outside of work, whether that’s writing a blog, taking time to follow your passion for sports or your kids. And we treat all our parents in the same way, through things like equal maternity and paternity pay (not just allowances for time). Everyone at Mr President was

hired because of their great work; we believe they’ll do it even better if they have a life.

We pay all our interns from day one. We have small, senior, collaborative project teams and a flat structure. Everyone is empowered to make decisions and share ideas. The lack of hierarchy means fewer egos and less explosive aggression. We mentor and develop our women (and men) so they grow in confidence. We have a commitment to never stereotype in our own work – and to use each piece of work to change the dial a little. It means that we stay open and aware of both the client’s and our own behavior.

I’m proud to be part of a business that’s doing everything it can to make a change. Are you with us?

Do you have ideas for equalising the industry? Tweet your thoughts to @ComputerArts using #DesignMatters

about the writerLaura Jordan Bambach is former president of D&AD and a creative partner at independent creative agency Mr President. She is also a co-founder of SheSays, a community to champion women in creative industries.www.mr-president.co.uk

Tim EaslEy Spec work is ridiculous and you

should never do it. You should never do work for a company that requires you to present them with something

before they decide whether they want to pay you or not.

@DowsonCrEaTivEIt shouldn’t be expected by companies, nor encouraged

as a ‘way in’ to the industry. Your work is always worth something.

@DEsignEr_Dan It’s rare that spec work actually pays off. If you have an idea, do it for yourself, otherwise you

end up devaluing the industry.

Comment on Facebook, or tweet @ComputerArts with your thoughts using #DesignMatters

Y o u r v i e w s

“Spec work can involve a client approaching a designer to suggest/ illustrate how they would approach a brief before committing to the project in writing or forming a written contract. My experience has been that many clients will approach me for a quote with a very loosely-worded brief and request my ideas for a design (or two or three), including sketches and any written ideas I may have. I’ve also been asked to attend several meetings to discuss the client’s project. I have made the mistake of spending far too much time on sketching ideas and attending meetings, with the project failing to come to fruition. This has cost me greatly and now I try not to spend more than half a day on a project if a contract for the project has not been agreed. Also, it’s important that any design/sketching has your signature and confirmation of your copyright.”

“Unpaid work destroys the fabric of trust and integrity for creatives. Graduates and junior designers give their all in their work; for the chance to be recognised or to give them that big break they were looking for. However spec work is unjust – we all deserve a slice of the cake and those who are left out will starve.” “Being asked to work for

free to prove your credentials or for ‘exposure’ is not only demoralising, but also ridiculous. Often spec work is produced in a rush, to a vague brief and without any certainty of reward. You would not expect a builder to build a ‘dynamic, exciting wall’ in a day or two, with no fees for materials or labour.”

victoria coppen

eleanor see lig

alex lucas

Graphic desiGner, alovera studiowww.aloverastudio.com

Graphic and web desiGnerwww.eleanorseelig.co.uk

illustrator and desiGnerwww.lucas-antics.com

s e p t e m b e r 2 0 1 5InsIght D E S I G N M AT T E R S


“What is your definition and opinion of spec Work?”

@CanDiEsnPixElsSpec work is okay if you are a

student, but if you are a professional, even if just starting out, then it

makes no sense to do it.

JoE allEn As a director of an agency we do a lot of spec work. It helps us to show the

client the quality we can produce, and ideas and suggestions they might not have thought of; it enables them to

visualise how it might work.

@lauriumUnpaid spec work shows that the

client doesn’t value design and promotes free labour. Giant red flag!

@rrChrDDThree words: Don’t do it!

“In our opinion spec work is a delicate cocktail of danger and opportunity. Quite honestly, we try to judge each request on its own merit – is it a client that will open us up to a wider audience, do we have the capacity to give it the attention it deserves or, quite simply, do we want to do the work? Some of our best clients have come from spec work, which have helped to grow our business and give us greater visibility – but that doesn’t mean that we haven’t been bitten by over-zealousness too.”

“Spec work is judged by a few initial first drafts (for fair compensation). I don’t think it’s an accurate predictor of what I can deliver. As a letterer, my best work happens when I’m given a vote of confidence – hired outright, based on my reputation and portfolio.”

Y uko shimizu

rob march

a ngel a southern

illustratorwww.yukoart.com

director, beard studioswww.wearebeard.com

illustrator & hand-lettererwww.angelasouthern.com

“I consider spec work to be any work a client asks you to create without a promise of pay up front, including open-call competitions that promise the winners will be paid and published.

Whenever I do public speaking, at design conferences or school visits, I always talk about how creatives should never work for free. When creatives are young and just starting out, they are extremely eager for any opportunity, which is great, but when you work for free, then the client learns they can get good work without paying (for the most part). The more and more clients learn, then eventually the creative industry will be dead.”

S e p t e m b e r 2 0 1 5 D E S I G N M AT T E R S InsIght


s e p t e m b e r 2 0 1 5


I n s I g h t b e n ta l l o n

Cash-strapped yet making good money? London-based freelance illustrator Ben Tallon offers his financial strategy for suriving long-

term projects that make you sweat for payment

Ride the cash rollercoaster

With every confirmed commission came a nice fee and an overall increase in earnings on paper, but after six weeks and the jobs still incomplete/not invoiced, I’ve spent all my emergency tax savings on my savage London rent and studio, not to mention bills and entertainment. You can’t rely on football results – that’s not how gambling works – so I’ve been treating my editorial clients like my old paper-round boss, gently asking for speedy payments or advances with as much politeness as required to mask my urgency.

In an ideal world, I’d concentrate on these bigger projects, but we’re all at the mercy of payment runs (most companies do a regular monthly schedule on a set day of the month, so a badly timed invoice can lead to a longer wait than your stipulated 30-day payment term) so I try to keep the smaller, faster jobs coming in and I get increasingly ruthless with the late payers. More importantly, I have to be a complete tyrant with myself. Smuggled hip flask to counter the £5 London pint scandal? It wouldn’t be the first time. Accounting skills are alien to the majority of us creatives, so the factoring of any job fees into my financial plans happens only upon payment. Spreadsheets have infiltrated my life, but if they aid my effort to treat the football results as only a pleasurable interest in athleticism and rampant unpredictability which I try to keep separate from my finances, then bring it on.

How do you mitigate a cash drought during a long-term project? Tweet @ComputerArts using #DesignMatters

C onfession: I’ve never been any good at cashflow. When I was 13 I would ask for 90p advances for my paper round so that

I could take home Match magazine on the day of publication and then, come the weekend, have enough to make tough choices such as, on one occasion, either go on the date I had lined up with a local girl or buy fish and chips after swimming.

The only trouble is, as a freelancing adult, the consequences are a little more dangerous than teenage romance and fried food. Now it’s rent payments and credit ratings. 2010/11’s tax bill was paid on time thanks only to an outlandish and speculative football accumulator bet win. Since the panic of that year, I’ve taken to piling away an excess of tax money upon payment for my commissioned work, opting for ‘just in case’ over ‘it’ll be fine’.

Early on, my work came more or less exclusively from editorial clients. It is fast-paced, revolving-door kind of work and you’re never far from two or three payments at once. So I’d operate always under the assurance that no matter how deep into the overdraft I’d delve, the next invoices were due. My tax account grew fatter and come January, my over-compensation would soothe any cash flow discrepancies that might occur over the next 12 months.

Just recently, however, there’s been a shift in the nature of my projects. More confidence in my work and stylistic improvements has brought about more diverse work for clients with longer turnarounds.

About the writerBen Tallon is a London-based freelance illustrator and art director represented by Illustration Ltd. He works with Channel 4, Russell Brand, the Guardian, Arsenal FC and WWE. www.bentallon.com

s e p t e m b e r 2 0 1 5


I n s I g h t m i c h a e l p a u l y o u n g 2 0 1 5

Independent font store founder Michael Paul Young argues that typographers who sell their wares as bundles at hugely discounted

prices are undercutting their talent as well as their reputation

Beware of the bundle

with such presumed authority that even designers who deplore such methods are forced to capitulate.

Fonts are worth more than that, literally and figuratively. We see examples of custom licenses constantly, with clients requesting special use and willing to pay big money. Custom font design is a valuable, rare niche. Don’t devalue this precious commodity by giving it away, or giving in to the pressure of the ‘bundlers’.

Another devaluing trend is the ‘renting’ of font licenses, which we’re now seeing turn to an app-based model. But that doesn’t compare with the bundlers who are contacting somewhere between 100 and 500 foundries/designers regularly, asking everyone to contribute. Then they sell those 100-500 stock items for $1.00 or some similar insanity, with the perceived ‘value’ being big exposure.

This is the farthest thing from the truth, since it devalues the work and you get no exposure. But it also means so much stuff gets dumped on the customer’s plate that they don’t even know what they’ve got. It’s like buying a couple of hundred cheap knock-off toys versus one good set of Lego.

Look, selling a font for a small discount to attract attention is smart. Sure, do it. Put some stuff on sale. But 80 per cent off? 90 per cent? I say your work is worth regular price. Stop giving it away.

B ecause I love type and design, my goal since starting YouWorkForThem in 2001 has been to help foundries and designers

by providing the coolest fonts in the coolest shop. A niche. An independent corner of the space that people discover and tell their friends about. A place where I would want to shop.

In recent times, the font marketplace has trended toward deep discounts, where SALE, SALE, SALE is the message. The presiding ‘Fontopoly’ dictated it, and the foundries fell into lockstep. One by one they have chosen to bring the ‘HUGE DISCOUNT!’ methodology to each of their new releases.

I’ve watched the steady progress of this trend as one watches a spreading rash. Even as I write, the ‘bundles’ are coming, and they’re going to bring everyone down. It’s a race to the bottom that I haven’t even been able to bring myself to address beyond a tongue-in-cheek tweet (bit.ly/1gsWFX4).

So I was taken back when we received some feedback from a foundry that requested we pull their whole catalogue from our shop, because they were not able to “resist this trend somehow”. What truly floored me was that even though they acknowledged that the Fontopoly was to blame for this trend, they were still going to sell their fonts there.

So I submit to the font community, and the design community as a whole: look closely at this rash of deep discounts and bundles as they continue to spread across our space, mandated by the Fontopoly

What’s your take on bundled font discounts? Tweet us your thoughts @ComputerArts using #DesignMatters

About the writerMichael Paul Young is the owner and creative director of YouWorkForThem, one of the world’s last remaining large-scale independent font shops. He lives and works in Bangkok, Thailand. www.youworkforthem.com

Rebranding your own studio is a unique opportunity to express yourself and showcase your abilities to potential suitors, which makes it crucial to nail it from the off. Portugal-based designer and illustrator João Oliveira attacked the challenge head on.

"I took inspiration straight from the 80s, using a cassette as the base for the logo and designing it around the 'on repeat' concept," explains Oliveira. From tetris

blocks to the patterns made with retro visual elements and acid colours, Oliveira combined all of these aspects and interweaved them with glitch graphics and lo-fi patterns to create a totally unmistakeable identity.

"The exploration of all kinds of visuals, directions and techniques was the most difficult part," says Oliveira, "especially figuring out what direction to go in to develop a tone that would define my studio."

Computer Arts selects the hottest new design, illustration and motion work from the global design scene

casseTTe TaPeonrepeat studio identityby João Oliveirawww.onrepeat.net

The identity's limited palette and distinct tone runs consistently across OnRepeat stationery

The consistency of the logo design ensures its easy transfer across print and digital platforms

Web design was a part of the rebrand, and the site faithfully mirrors the overall theme

The black cassette tape logo against a neon background is OnRepeat's stamp of authenticity

Tetris blocks struck through with patterns gives letterheads an unmistakeable look

Oliveira has also just launched a line of OnRepeat clothing – check out www.onrepeatclothing.com

s e p t e m b e r 2 0 1 5S h o w c a S e


the rest of the industry says…

matt burnsDirector, Thirstwww.thirst-co.uk

Gavin PotenzaCo-founder, Script & Sealwww.scriptandseal.com

“I believe a studio’s brand identity should be a reflection of its style – a snapshot of what it would be like to work with them. In OnRepeat's case, the identity is perfect. The studio’s work is exciting, contemporary, playful and full of energy, and the identity captures this.”

“Conceptual consistency is what makes a strong identity. Every part of João's identity invokes a sense of nostalgia, as if every angle has been considered. The patterns are my favourite part; they’re so unique. The cassette logomark may be unnecessary as all the other elements so strongly convey the concept. Overall though, it’s a great, well-thought-out system by João.”

rob march Managing director, Beard www.wearebeard.com

“João's design balances retro and modern styles with some great use of colour. I love the icon in particular – and actually prefer it separated from the green patterned background. It’s the kind of design that I admire and envy at the same time.”

s e p t e m b e r 2 0 1 5 T h e v e r y b e s T n e w d e s i g n


man OF leTTeRsmister alphabetby Marshall & Haley Roemenwww.misteralphabet.com

mister alphabet is a figurine designed to bend into every letter of the alphabet. He was created by los angeles-based couple marshall and Haley Roemen to bring the alphabet to life through the innovative interplay of figuration and letter formation, uniting adults with children and design with education.

"Drawing upon our experiences in fine art and fashion, mr alphabet represents our shared passions in design, education and community," explains marshall. "We didn't want to make a big-eyed doll with a plastered smile on his face, but something more tranquil, with an eye-catching and iconic colour scheme. some people presume he's a French mime,

but we didn't set out to achieve that association. The first iteration looked more 'Tim Burton' than French."

That first prototype was made from flower wire, tourniquets, baked clay, cloth and electric tape, with many of the hand-sculpted details surviving the production model apart from the head, which ultimately required a transition to caD. "The magnets in his hands and feet were designed to aid in the formation of letters," adds Haley, "but they also allow him to hang in various ways from metal surfaces."

after successfully passing all 24 mechanical safety tests by law and garnering huge support, the project is gearing up for its first production run this year.



DuRBan gRaPHIcthe holiday collectionby Studio Mutiwww.studiomuti.co.zawww.mingolamberti.com

south africa-based studio muti worked with cape Town design goods manufacturer mingo lamberti on its latest range of textiles. Dubbed The Holiday collection, the summery range of repeated patterns is inspired by tropical and exotic locations around the world.

"The brief was pretty open but asked us to capture a holiday feeling, whether it was from a past experience, location, or even an era," says muti's Brad Hodgskiss. "There was an overriding feeling of nostalgia to it which was something one always associates with a trip or a holiday, and this encouraged the process to be a more personal experience." He continues: "That made us want to make them more than just patterns – the goal was to have the viewer drawn into the underlying narrative that inspired each design. look closer at the jungle pattern for example: the foliage has come alive and is starting to devour the creatures that live there."

The illustrations were created digitally in Photoshop and Illustrator, after which mingo lamberti created rotary screens and printed them onto cotton twill fabric.

BeaD mazekindo brandingby Anagramawww.anagrama.com

International creative firm anagrama has come up with a novel shopping experience for kids' clothing and accessories boutique Kindo. "The goal was to create an interesting space," says graphic designer Roby arriaga of the project, which also included a consistent branding system for the mexican store. "Our solution was to merge aesthetics, form and function into one simple element."

The firm's inspiration came in the form of a timeless didactic toy called a 'bead maze' made up of geometric shapes, using simple figures as its base which are moved along coloured pipes. These features translated in-store to galvanised steel pipes, wood for the display furniture and fibre glass for the geometric hanging shapes.

"The challenge was to create order while still maintaining a fun, dynamic aesthetic throughout the interior design," explains arriaga. "We love how adults and children resonate with a classic toy blown up to human scale proportions, allowing them to interact with it in a fun and unexpected shopping experience."



—MOTION

HIGHLIGHT—

HeRe TO HelPstudio manifestoby We Are Royalewww.weareroyale.com

On paper, manifestos can be sterile things – dry, repetitive, often political. But in the hands of a motion design studio like We are Royale, creative declarations are a lot more entertaining. Its latest short comes as part of a full-scale identity refresh and sheds light on what the company stands for and what makes it unique, in a fun, dynamic way.

"It's a look into our culture, sense of humour and appetite for 80s pop culture," explain creative directors Brien Holman and Jayson Whitmore. "We are a versatile company, we can do a lot of different

things. What's important now isn't to showcase all those 'things' to clients, but to offer a look into how we work and what sets us apart."

The team broke apart the lines of its manifesto, and gave them to different designers in the studio. "We wanted to get an eclectic mixture of styles so every statement had its own look," says Holman. "everyone agreed on the colour palette, and to make it graphic-heavy. It's now the foundation of our new site: the typography animates in sync to the video."



cOveR TO cOveR the recorder magazine vol2By Luke Tongewww.luketonge.com

Type company monotype first published The monotype Recorder in 1902 and did so sporadically for the next 90 or so years. last year a brief was put out to reinvent the magazine as a contemporary design journal and a celebration of typography, and graphic designer luke Tonge won the commission.

"I wanted to create a confident and colourful publication using bold layouts and considered typography to help deliver the content," says Tonge. "some of the original Recorder issues included brave spreads, so I took that as permission to have some fun."

The content is split into four areas – features, profiles, opinions and essays – and was laid out in InDesign and printed, stitched and embossed by leycol in london, using g . F smith-supplied paper.

"We were keen to use a photograph after the illustrative first cover, but with so much great content it was hard to choose with image to sum up the issue," says Tonge. a zingy neon spot ink was chosen for the second volume's masthead, having launched with gold foil on its first issue. "It's my dream project," Tonge admits.

—PRINT

HIGHLIGHT—



—FEATURED SHOWREEL

—

POsITIve vIBesstudio showreel by Oh Yeah Wowwww.ohyeahwow.com

Oh Yeah Wow is a studio of visual wizards who together have worked with artists like slash, Ben Folds Five and Bombay Bicycle club, winning Rolling stone awards, aeaF trophies and more in the process.

"We've a lot of mouths to feed under one roof, but that also means we have a lot of ideas," explains founder Darcy Prendergast. "so we wanted Oh Yeah Wow to be known for its vibrancy and imagination – by capturing that in our latest motion graphics showreel."

The one-and-a-half-minute video showcases a rich assortment of motion work, from simple 2D animation to stop motion and swirling 3D vortices, cut with slick turbo-transitions and driven by a rousing soundtrack.

"We've always been big believers that the narrative dictates the medium," says Prendergast, who can be found sculpting, writing, directing, animating, editing and shooting at the Wow studio from one day to the next. "The majority of us are generalists. so when we look at a script, it's a matter of tailoring the medium and look to match. If we feel the malleability of plasticine is going to service the narrative best, then that's the way we go – sometimes without consideration of the budget provided!"



T HR E E GR E AT OF F E R S !

Terms & condiTions: Prices and savings quoted are compared to buying full priced UK print and digital issues. You will receive 13 issues in a year. If you are dissatisfied in any way you can write to us or call us to cancel your subscription at any time and we will refund you for all un-mailed issues. Prices correct at point of print and subject to change. For full terms and conditions please visit: myfavm.ag/magterms. Offer ends 30 September 2015.

SUBSCRIBE TO COMPUTER ARTS

Read CA when and where you want . There are three great subs opt ions to choose f rom – choose your package today !

From

£27.49Based on a 6-month sub

PrinT onlyOur premium print edition experiments with innovative cover finishes, and is packed with creative insight and inspiration from the global design community

From


diGiTAl onlyCA’s multi-award-winning iPad edition comes complete with exclusive videos, bonus galleries and more. Print replica available for iPhone and Android devices

38%

SAVEUP TO

45%

SAVEUP TO

BEST VALUE! PRINT & DIGITALEnjoy the tactile beauty of our print edition and the interactive delights of our award-winning digital edition in one package, and get behind-the-scenes access to top studios, pro analysis of the latest trends and inspiration that lasts all year

Your subscription will then continue at £32.99 every 6 months – saving 30% on the shop price and giving you a 83% discount on a digital subscription

From


Subscribe online today:www.myfavouritemagazines.co.uk/cAsUBs

GreAT reAsons To sUBscriBe: Save up to 54% on combined subs Print edition delivered to your door Download the award-winning iPad edition 13 issues in a one-year subscription Full money-back guarantee 59%

SAVEUP TO

B EK A L E RF U T U R E H E A D S

Interactive talent-spotter Be is a director and co-founder of London-based digital recruitment consultancy Futureheads. She has over 15 years’ experience recruiting for digital roles. www.wearefutureheads.co.uk

T E D L E O N H A R D TC O N S U L T A N T A N D A U T H O R

Ted is a consultant to the creative industries, focusing on negotiation. Author of Nail It: Stories for Designers on Negotiating with Confidence, Ted previously owned a design agency. www.tedleonhardt.com

D I A N ED O M E Y E RT H E C R E A T I V E G R O U P

Diane is executive director of The Creative Group, a specialised staffing service placing interactive, design, marketing and advertising professionals with a variety of firms. www.creativegroup.com

N I K K Y L Y L EA D R E M G R O U P

A specialist recruiter at Adrem Group, Nikky places designers and visualisers at leading firms in the London market. She studied design at KIAD and photography at Falmouth University.www.adremgroup.com

how to GEt PAID whAt YoU DESERVE

The design industry is in good health at the moment. In the UK, the creative sector is currently worth £71 billion – and it employs an astonishing one

in 12 members of the UK’s workforce. “The market is buoyant right now,” says Adrem Group’s Nikky Lyle, who specialises in placing graphic designers and visualisers. “Lots of companies are crying out for good people. It’s a candidate-led market at the moment. Salaries have shot up and the best people get snapped up very quickly.”

“We’re in a growth industry,” agrees Be Kaler, director and co-founder of digital recruitment specialists Futureheads, who says that the recent climb out of recession has resulted in an employment boom. “There are many more opportunities than there were five years ago. A lot of people are coming to us wanting to earn more and the market will afford that at the moment. There are more jobs than there are good people, and employers genuinely have an expectation that they may need to pay a bit more – but you do need to be able to justify why.”

From nailing salary negotiations with a new employer to learning skills that will sell, here’s how to increase your slice of the pie

The Major Players Salary Survey 2015 found that salaries have increased by between 5 per cent and 10 per cent across most creative disciplines. The majority of respondents work in integrated agencies – 27 per cent were found to have received a pay rise of more than 10 per cent in the last year, with more pay increases happening internally than through external job moves. However, over a third (38.6 per cent) of those surveyed were looking to change jobs within the next year, with 64.9 per cent citing better financial remuneration as a motivation.

There is some less encouraging news when it comes to the gender pay gap, however. The Design Week Salary Survey 2015 revealed a gender pay gap of 17 per cent in the design industry. In comparison, data from the Office for National Statistics places the UK’s overall gender pay gap at 9.4 per cent. The Design Week survey found that male creatives are earning £35,809 on average, while females in equivalent roles are getting £30,733. Overall, the average designer in the UK earns £33,443, according

Words: Anne Wol lenberg

IllustrAtIon: Myster y Meat www.myster ymeat .co .uk

S E P T E M B E R 2 0 1 5

cOMPUTerArTS.creATIveBlOq.cOM- 43 -

G E T P A I D W H AT Y O U D E S E R V E

to the Design Week survey. london salaries continue to outstrip the rest of the UK at an average of £36,791, followed by £32,795 in the rest of the South east, £30,599 in the east Midlands and £29,643 in Scotland. The lowest-paid jobs are in Northern Ireland, where the average designer’s salary is £21,818.

“london is still the hub, but Manchester is somewhere to watch,” says Nikky lyle. “The BBc has moved there, the government is investing money and there are some great studios there that are beating london agencies to awards.” Designers in Manchester earn £27,279 on average, according to Design Week. “The cost of living is much cheaper, but it’s the same quality of work and you can still work with london-based clients.”

“We’ve had lots of openings though in Manchester and we have clients opening offices there as well,” she continues. “We’ve just had an agency from Manchester here in london interviewing people and other clients from Manchester have approached us wanting to meet people.”

Designers are earning more outside the UK than within it. The Design Week research puts the average overseas salary at £41,324, although it is of course worth noting that this will vary greatly between different cities and countries across the world. So, where might you consider looking? “companies in San Francisco are keen to hire london staff,” says Be Kaler. “And I went out to Singapore earlier this year and was surprised by how many london digital agencies have got satellite offices there now. If you set up in Singapore, you can service 18 other business districts within a two-hour flight zone.”

fREElancE EARnInGSFreelance designers appear to be earning more than employees, with average salaries of £34,659, although it’s important to take into account the extra costs associated with freelancing. Designers working for consultancies are earning an average of £33,680, while designers working

WAYS TO MAKE MOREexpert recruiters and negotiators give us their top tips for improving your current situation

1. Quit playing gamesApply for better-paying jobs and be honest about your situation. Diane Domeyer,

executive director of The creative Group, says it’s vital to avoid playing games.

“Tactics such as misleading a prospective employer about your current salary or

other job offers in an effort to obtain higher pay almost always backfire.”

2. Don’t Draw linesAlways keep your options open when negotiating a contract. Whether you’re

negotiating with your current employer or a potential new one, Domeyer says it’s a

mistake to give ultimatums too early on in the contractual process. “look for common

ground and avoid an adversarial stance. You want to start off on the right foot.”

3. the time is nowStart looking around ahead of time rather than waiting until you’re thoroughly fed up.

“Often, by the time people ask for more money they’re quite disgruntled about what

they’re currently on,” says Be Kaler of Futureheads. “Try to have the conversation

before you get to that stage.”

4. Know your bottom line“Always have a Below This I Walk number in mind when going into a meeting,”

says recruitment consultant Ted leonhardt. “If you don’t go in with one, in a weak

moment you can find yourself agreeing to something you later regret. Our brains flick

between emotional and rational responses – the rational mind is the slowest part.”

5. if not now, try laterBe aware that pay rises don’t have to come instantly. If you can’t negotiate more

money now, try asking for a delayed or conditional pay bump to be written into

your contract. Be Kaler of Futureheads suggests asking employers to consider

writing a pay rise into your contract. “They might say: okay, we can pay that

when you’ve delivered X, Y or Z.”

S E P T E M B E R 2 0 1 5I n d u s t r y I s s u e s


in-house receive the lowest average salaries at £31,587. Be Kaler says client-side opportunities have increased, though: “Our agency/client split used to be 75/25 and it’s probably 50–60 per cent in favour of client-side now.”

While employers are keen to hire new staff, lyle observes that they are being more cautious in their selections. “They want to hire people that are keen to develop and push themselves. The main thing they want is for designers to be as creative as possible.” lyle notes that client-facing skills are always a plus, while, on the digital side, the Major Players survey revealed that the most sought-after candidates are digital designers with front-end development knowledge. Speaking more generally, Be Kaler recommends improving breadth rather than simply becoming a specialist in one area.

In the USA, The creative Group’s 2015 Salary Guide predicts a 3.5 per cent rise for creative salaries over the next year. “The job category with the biggest pay jump is the interactive field, with a 4.4 per cent average rise,” says Diane Domeyer, executive director of The creative Group. “A number of digital positions are expected to exceed this figure.” For example, mobile designers can expect starting salaries to increase by 6.8 per cent to the range of $71,000 to $109,500.

“Gaining digital and mobile skills will increase your marketability and open doors to new opportunities, no matter what your specialty,” advises Domeyer. “even if you are applying for positions that don’t require these skills, acquiring them can give you an edge in today’s competitive job market.” Salary gains for more traditional roles, such as

“thE job cAtEGoRY wIth thE bIGGESt

PAY jUmP IS thE IntERActIVE fIElD,

wIth A 4.4 PER cEnt AVERAGE RISE”DIAnE DomEYER, ExEcUtIVE

DIREctoR of thE cREAtIVE GRoUP

graphic designers, will be considerably less, but these professionals can still expect an average increase of between 3 and 3.2 per cent in 2015.

What sorts of employers are paying the best salaries? “Try looking for jobs in corporate, tech, start-ups and charities,” suggests Futureheads’ Be Kaler. “look for well-funded start-ups that have gone through a round of funding, which usually comes with a timeline for delivery.

They may be up against the wall as it will stall everything if they don’t have the resources. They may also be willing to pay a bit more because it’s harder to attract staff without an established brand – or an Hr or IT department.”

Start-ups often seek a broader skillset because they don’t have a raft of established teams and departments to call on. “They also understand that someone leaving an established agency or corporation, they’re going to be walking away from more than just a salary but are relinquishing security, a pension

and an established career path.”At the other end of the scale, big-named brands are

realising that they can’t attract candidates on name alone, Kaler reveals. “It used to be that the sexier the brand, the less you needed to pay. People are more discerning and brands that take that approach can lose out.” It’s a similar story with charities, she adds. “To attract the right staff, they are having to break their pay scales.”

monEY ISn’t EVERYthInGJust don’t make the mistake of looking solely at the numbers. “lots of people take a job purely based on

S E P T E M B E R 2 0 1 5



salary,” says Kaler. “Think of the 10 things that are most important to you. These will be different for everybody and they might include things like the location, pay, type of work, style of business, company culture and working hours. look at all of that holistically and take the money out of the equation until last,” she advises. “People can make the mistake of choosing one job over another just because it pays £2,000 more. An extra £150 a month will be nothing if you’re unhappy.”

“Salary is only part of the equation,” agrees Diane Domeyer. “You should know what is most important to you going into the conversation and weigh up all aspects of the offer. One of the biggest mistakes job candidates make is accepting whatever offer comes their way. But you shouldn’t shy away from discussing salary, specially since many employers are open to it.”

How do you go about negotiating a better offer? Whether you’re trying to persuade your boss to give you a pay rise or fleshing out the details of a potential job offer, it’s absolutely vital to do your homework beforehand – forewarned really is forearmed. “The most important thing to do before deciding whether to negotiate is to conduct background research,” says Domeyer. “review salary guides and speak to recruiters. Try to find out if the company is growing or has recently reduced its staff, as these events can help to inform your bargaining power.”

wInnInG At nEGotIAtIon“You need a solid foundation for any kind of compensation request,” Domeyer says. For example, consider the impact of the projects in your portfolio. “create a list of your achievements in previous roles and relate your work to any possible contribution to the companies’ revenue. Has your work helped generate business or build visibility? Have you developed more efficient processes and procedures? If you don’t have answers to these types of questions, it will be difficult to make a case.”

1. start small (up to 10 staff)Some of the best starting salaries for designers can be found in well-funded

start-ups. For example, research by Google ventures found that design

salaries being paid by tech start-ups in San Francisco broadly reflect those

being offered by much bigger, established companies. larger agencies may

offer more corporate perks, such as equity in the company, and have greater

scope for internal career moves, but the ‘mucking-in’ approach at a start-up

means you can gain a much broader range of experience and can potentially

own and adapt your role instead of moving to a new one.

2. meDium prospects (11-50 staff)The Design Week Salary Survey 2015 found that designers working

for independent studios tended to earn slightly less (£33,364) on average

than those at networked consultancies (£35,480). While medium-sized

agencies may not offer the same salaries as bigger, global firms, they

provide the best of both worlds – you’ll have opportunities for sideways

and upwards moves, but will probably still know the names of all of your

colleagues. Medium-sized agencies often have a culture of seeking

project input from across the company, so you’ll potentially have a

chance to get stuck into a wide range of projects.

3. large-scale agency (50+ staff)You’ll potentially find higher salaries at larger, more established agencies,

with plenty of scope for career moves – which could include a cross-global

move to an office in another country. You’re likely to have a much more

clearly-defined role, with different skill sets clearly covered off by designated

teams. Bigger agencies can offer multiple opportunities for freelancers, but

some will contract through smaller agencies rather than using individuals.

The company should have a bigger budget for training and other benefits,

but there will also be more layers of corporate hierarchy to deal with.

STUDIO SITUATIONSHow do design pay and prospects compare at different scales? We take a look at three types of design agency



Negotiation expert Ted leonhardt is a specialist consultant to the creative industries and author of Nail It: Stories for Designers on Negotiating with confidence. He says that the Harvard Negotiation Project (bit.ly/harvardng) is the gold standard for negotiation advice and strategy. “But there’s one thing it recommends that is impossible for creatives and that is to separate your work from yourself. A creative simply cannot do that.”

leonhardt emphasises the pivotal importance of “bargaining hard, but with respect”, along with the need to

remember that potential clients and employers are human beings too. “creatives are often terribly apprehensive about bargaining for money. They think the client is going to behave as if they are buying a used car and try to drive a hard bargain, when they’re usually very civilised.

leonhardt is clear on the fact that preparation shouldn’t stop at background research. He says it can also be helpful to rehearse potential scenarios and practise how you might respond. “We can fall back into certain behaviours when we’re under stress, like going into fight

Junior DesignerJunior designers earn £22,000, according to the Gabriele Skelton

Salary Indicators report. The Major Players Survey 2015 puts junior

designers in london and the South east on £24,000 in agencies

and £28,000 client-side.

miDDleweight DesignerMiddleweight designers in london and the South east do better in

agencies at £35,000 compared to £28,000 client-side. The Gabriele

Skelton survey puts the average UK middleweight wage at £26,000.

senior Designer Senior designers in the UK earn £36,281 on average. Focusing on

london and the South east, Major Players finds salaries of

£48,000 in-house and £50,000 agency-side.

Design DirectorDesign directors earn an average wage of £47,005 in the UK.

In london and the South east, this goes up to around £55,000.

creative Directorcreative directors’ pay is at £52,587 on average in the UK, but

wages are considerably higher in the capital, with an average

london salary of £100,000.

freelance DesignerFreelance designers earn around £150 per day at junior level. This

rises to £240 at mid-weight, and £400 or more at creative director

level. For branding design in particular, average day rates are £110,

£200 and £300 respectively.

eDitorial DesignThis is the lowest-paid sector in the UK; salaries for editorial

designers sit at an average wage of £27,237 per year.

branDing DesignThe average UK wage for branding specialists is £36,998: that’s

£22,000 for junior roles, rising to £32,000 at mid-weight and

£40,000 at senior level. creative directors can earn £80,000.

SHOW ME THE MONEYcheck out our guide to current design salaries in the United Kingdom and find out whether you’re actually earning what you’re really worth

S E P T E M B E R 2 0 1 5



or flight mode,” he says. “The stress of negotiation will cause you to feel some anxiety and fear, and that’s normal. everyone does it, but we all pretend that we don’t.”

“If you think about things overnight, you’ll have the opportunity to get your frontal lobe fully engaged in the process and to move from an emotional space into a rational one,” leonhardt continues. That’s why you should plan for the process of negotiation. “creatives often resist this because they’re uncomfortable with it and are in denial. They can go into the situation unprepared and can find themselves rolling over and giving in because they’re feeling uncomfortable with the situation.”

clarity is important, too. “We give details of salary expectations from the beginning,” says Kaler. “Otherwise you can reach the end of the process and find that expectations don’t match. The offer may have been signed off with Hr and now they’ll have to go back with egg on their faces. There should be no surprises at offer stage.”

What do you need to do to impress potential employers? It all comes back to your portfolio. “Portfolios absolutely matter, says Nikky lyle. “clients say they look at them straightaway, often before they open cvs, and creatives can sometimes really let themselves down. If something wouldn’t be good enough to leave their office to go to a client, then why are you sending it through to them?”

Taking care over your presentation – of yourself and your work – can make all the difference, she says. “You get people with brilliant portfolios who can’t be sent for interviews before their overall presentation. Brush your hair and don’t show scruffy print-outs of your portfolio. I always recommend graphic designers show things on an iPad and then bring out printed samples as well.” It’s all about how valuable you make yourself, she says. If you want to earn more, get the maximum value from yourself.

Next month: Sharpen your persuasion skills with our expert guide to selling your design concepts to skeptical clients...

uniteD KingDomThe average designer’s salary is £33,443. Freelancers earn a bit

more at £34,659. london (£36,791) and South east (£32,795)

designers earn the most, Wales and Northern Ireland the lowest.

germanyGraphic designers earn an average salary of €28,893 per year.

It’s a broad range: starting salaries begin at €12,289 and taxes

tend to be high, but the cost of living in Berlin is relatively cheap.

spainSalary explorer puts the average Spanish designer’s salary at

€28,836. According to coroflot, designers in Barcelona earn the

most at €30,000, but this is taken from a relatively small sample.

south africaThe Ad Talent Salary Survey puts graphic designers’ salaries at

r15,000 and r12,000 for smaller agencies in Johannesburg and

cape Town; average salaries in larger studios are r28,000 in

Johannesburg and r20,000 in cape Town.

uniteD states Starting salaries range from US$38,750 to US$56,500. According

to coroflot, graphic designers earn US$58,000 on average in San

Francisco, US$50,000 in New York and US$48,000 in Portland.

australiaGraphic designers earn AU$63,000 on average in Sydney and

AU$54,000 in Melbourne. Branding and corporate identity roles

span a broad range in Sydney, with an average of AU$96,000.

AROUND THE WORlDWe examine the current career prospects for designers in key locations across the globe



To download THE SURVEY RESUlTS, go Towww.creativebloq.com/salary-survey

Discover the average pay for your job role, around the world...

...what percentage of designers have had a payrise recently…

…how much it was, and most importantly,

why they got it

CREATIVE SALARY SURVEY 2015

Are you paid enough, and if not, what can you do about it? Download the results of our exclusive online survey to find out...

F R E E DO W NL O A D


G M U N K

bradley G munkowitzdesign director Gmunk has worked at top-tier outfits buck, transistorstudios, engine design and prologue Films, while also building a successful freelance career.

san Francisco, usawww.gmunk.com

V i d e o i n s i g h t


v ide o c on t e n t

watch the videos at bit.ly/ca244-gmunk or

in our ipad editionsee page 82 lighting up

E XCluSiVE ViDEO

Best known for manipulating light into stunning immersive experiences, design director GMUNK is now moving into architectural spaces

h olograms, lasers, psychedelia and light: lots of volumetric light. It’s a long way from analyzing shellfish reproductive cycles in the freezing cold – the San Francisco-based graphic designer originally embarked on an

oceanography major – but in a diverse career marked by “a series of breaks”, it’s fitting that Bradley G Munkowitz ventured into design on the advice of his science teacher.

His most visible work is a series of holographic sequences and UI for feature films Tron: Legacy and Oblivion. But Munkowitz, aka GMUNK, has over a decade of experience as a design director for clients around the world, most recently creating a new hero image for Microsoft Windows 10 out of light.

He also collaborated with design studio Bot & Dolly on 2013’s revolutionary projection-mapping project, Box. We caught up with GMUNK at OFFF Barcelona to find out what he’s been up to since then.

How have you been spending your time since working on Box with Bot & Dolly? Bot & Dolly were bought by Google so I left them last year. I’m doing commercial work now, balancing it with personal work and following the formula: do client work that pays, take time off and do personal work you love, then that finds you more client work.

Most recently I’ve been doing a lot of psychedelic art. I want to build virtual reality spaces and architectural spaces – immersive experiential designs – in that style, bringing the lighting studies I’ve been doing for my short films into real spaces.

It’s the personal work that really matters to me. I try to be as passionate as I can about client work, but I know it’s not mine. I certainly don’t get hurt when a client wants to make changes.

To what extent do your personal projects feed into your client commissions?A lot of client work has been because of the Adobe logo remix project, which has fed into big projects for Microsoft and Samsung. I recently did a free music video for Eric Prydz, one of my favourite electronic music artists – I’ve partied to his music for over a decade – which I hope gets me more big client work because there were some exciting new techniques in that. Clients gravitate towards rich personal work because they can feel the energy in it.

PHOT

OGRA

PHy:

sim

ona

bun

ardz

hiev

a V

IDEO

GRAP

Hy: J

oaqu

im m

as c

uadr

as

phantasmaGoric worldswhen virgin records asked Gmunk to create a music video for dJ eric prydz’s intoxicating new track, Generate, the designer tapped his sF Genius crew to create a hypnotic visual tapestry of illuminated shapes and pixels that builds with the song.

“we used a lot of really weird photographic techniques: sphere lenses, a lot of really weird lens filters and camera rigs that push through the queues and we hung them from the ceiling,” he recalls. “we came up with some really new looks that were all concepted by me in 3d on a different project, just playing around with arnold sphere lenses.”

to prove a point, the artist didn’t take a fee for the project. “it’s not about the money – it’s about doing amazing work. you can always turn that into work that pays you, if it’s good and there’s a lot of energy into it.” see more: www.bit.ly/ca244-gmunk

EriC pryDz: ‘gEnEratE’ ViDEOv ideo case study one :

Watch the videos on our youtube channel: www.bit.ly/ca244-gmunk

s e p t e m b e r 2 0 1 5V i d e o i n s i g h t


Watch the videos on our youtube channel: www.bit.ly/ca244-gmunk

s e p t e m b e r 2 0 1 5 V i d e o i n s i g h t


creatinG st ylised environmentslast year, Gmunk teamed up with record label Ghostly international to concept and direct the first music video for ambient music artist tycho. despite an incredibly small budget, the team raised enough money to shoot in the woods for four days as well as inside the studio. “we actually shot more than the prydz video for less than a third of the budget. i still don’t understand how,” he laughs. “it was super fun.”

the original narrative focused on a female hero who journeys through a series of stunning environments, using smoke tunnels, time-lapse crystals, handmade 3d props, wide-angle shots, infrared and full-spectrum photography to interpret tycho’s track, see. but Gmunk learned a valuable lesson on the job: “i had high expectations, but there were some comments so i did a recut. if you’re detached from those expectations, then anything that’s received will feel good.” check out the stunning recut version here: www.bit.ly/ca244-gmunk

tyChO: ‘SEE’ ViDEOv ideo case study t Wo: What advice would you give to designers who

aspire to work with their favourite DJ?First, find the kind of work that really burns a hole in your heart. What is that style, aesthetic, language that inspires you the most? And then do that. Add your own flavour and produce, produce, produce. Put things on the internet, because nothing happens if nobody sees it. And just keep at it.

How do you keep up with cutting-edge new tech?You can’t really keep up with it. It’s like this endless growing vine with all these tomatoes on it. You just pick those little tomatoes off it whenever you can, or you collaborate with a helicopter pilot who can take you a little bit higher. I’d rather focus on a small part of it and do amazing work, and then move onto the next thing, because it’s endless – it’s boundless.

The beautiful thing about working in technology and design is the tools are always getting better. For instance, this morning I was looking at 360 degree virtual reality rendered out of a rendering engine. I can take my psychedelic worlds and put them into a spherical space. In five years from now, that’s going to be off the headset and into a space in front of you. That’s really inspiring.

Can you give any advice for collaborating with experts across different discplines?Whenever there’s confusion I just draw a picture and show reference. I’ve worked with roboticists, engineers, architects, projectionists. The common language is the language of the image. Moving image, still image, reference, clear ideas, clear communication. And then just willingness to listen and learn from them. Collaboration is 50/50. I want to plant a creative seed and then see where they take it. If I don’t agree with it 100 per cent, that’s okay.

What advice would you give to a graphic designer who wants to do more interactive work?First, study all the great interactive designers. Ask questions; see how the design is taken into the new space. And then just experiment. Collaborate with people who program and do that kind of work, and apply your own design to it. There needs to be a certain fearlessness.

Failure is okay. If you make something horribly lame and people hate it and it hurts their eyes, then you learn why and the second time you do it better.

You speak at conferences around the world. How important is it to give back as a designer?The industry’s hard. I try to help people and connect people as much as I can. When you do talks, it’s an opportunity to share the wisdom that you’ve learned, and talk about what worked and what doesn’t work – the why of the work is really important.

I’ve done work where I’ll pitch to a really busy celebrity and they’ll say: ‘Hey, I don’t have time to read a 25-page document.” Sure you do – and I can make time to answer emails, help people and do Skype calls with students. It can be demanding, but it’s worth it.

What’s the biggest lesson you’ve learnt so far?You’ve got to believe in karma and luck, and to really make it you can’t go half in. It’s challenging, but I believe I was put on this earth to do this.

S p e c i a l R e p o R t

Making creative budgets work

There’s an old-fashioned rule of thumb in the restaurant trade on how to price a dish: take the cost of the ingredients, add tax, and times it by three. With one third of the figure you’re left with covering the cost of the ingredients; a further third covering operating expenses; and the final

third amounts to pure, post-tax profit. All manner of uncontrollable trading conditions, weather incidents, illnesses, accidents and general force majeure can affect operating expenses and the price of ingredients, of course. Which is why the triangulated budgeting formula works – because it ensures that the profit margin of each dish sold is always protected.

Words: Tom dennis

PIE CHArTs: Jo Gul l i ver

s e p t e m b e r 2 0 1 5 S P E N D S M A R T E R


Managing your budgets badly is the fast track to a broken studio. Here we deliver an essential crash-course to managing costs, and glean the key financial lessons successful studios had to learn in order to turn creativity into cash

The creative trade, by comparison, is about as simple to ‘price’ as a Jimmy Five Spice menu. Each ‘ingredient’ in a creative project is almost impossible to cost tangibly, meaning the industry is doubly liable for undercharging for expertise, and overcharging for time. The result can equate to cashflow problems at best, and in worst case scenarios, trading-deficit and outright bankruptcy.

The excuse that budgets and business should be left to the account heads is a nonsense in today’s industry. The most impressive young creatives on the books of global agencies are just as likely to understand the nuances of trade and profit lines as they are in creating mood boards and brand statements. And with good reason. With more than a third of the creative industries working on short-term contracts or self-employed, at some point in their careers every designer will have to get their head around a profit and loss line: whether that’s as a business owner, sole-trader or a creative head at a mega agency.

“It’s the laziest thing in the world to say you can’t add up; that poor old excuse that you ‘don’t get numbers’; that being a designer [you] ‘just do the pictures’,” says Simon Manchipp, founder and executive strategic creative director at SomeOne.

“Seriously? When you buy a Cornetto, you don’t check your change? That’s just lazy rubbish. Of course you do. So don’t spout the nonsense about being ‘an artist, not an accountant’.”

What’s key to understand is that the financial and creative sides of a business have more than a symbiotic relationship. While one area cannot survive without the other, the fact that the two complement and strengthen each other to a business’ advantage means that award-winning creative work is not just funded by smart budgeting, but is wholly dependent upon it.

“This is commercial creativity and if you don’t get the commerce you won’t get the most out of the creativity,” says Manchipp. “Everyone at SomeOne understands the relationship. We work with it, at it and in spite of it. If you can work Photoshop, you can read a profit and loss statement. And it’ll give you more insight into how to make the project rock — this time and next time.”

On a very basic level, a budget dictates how much you have to invest in a project. The quality of the creative vision should always dictate the numbers – that’s what you’ve sold the client after all. However, a solid budget ensures you don’t overreach, overspend and end up running out of money. For that reason, the very best

SomeOne was tasked to make the process of buying online not only more enjoyable, but also a more elegant, curated experience for people to reflect the quality and service of the brand; to take it beyond the purely transactional.

An entirely new strategic visual brand identity was developed for Glasses Direct to be deployed across multiple channels — both digitally responsive over many devices — but also through the packaging and entire customer journey.

s e p t e m b e r 2 0 1 5S p e c i a l R e p o R T


Agency:

S o m e o n e s o m e o n e i n l o n d o n . c o m

client :

G l a s s e s D i r e c t

someone was tasked with devising a

wholly original strategic and visual brand

identity for online glasses retailer Glasses

Direct that spanned the entire customer

journey from digitally responsive site to

delivery packaging, and allocated budget

accordingly. Filmmaker simon Warren

was commissioned to create a series of

animated GiFs that bring a lively lifestyle

feel to the site. the deft use of original

typeface austin by paul barnes, which

was originally created for Harpers &

queen, as well as a custom wordmark

based on the typeface portrait by berton

Hasebe, adds to the lifestyle editorial

theme someone delivered.

strateGy

DesiGn system

bespoke typoGrapHy

pHotoGrapHy

viDeo

set DesiGn

licensinG

researcH anD Development

c r e A t i v e S p e n d



a forward-driven position for its product offering. A fresh palette of colours, a bold pattern and a logo with dynamic possibilities help NLG stand out from its competitors

Never Let Go makes performance safety gear with an aim to make hardworking people do what they do best, without compromise. Hey Days helped the company establish



budgeting gets the greatest value at a creative level, while maximising profit margins at a business level.

P i tc h o r co s t ? A creative budget is generally arrived upon in one of two ways: a regular client tells its rostered agency of a business objective and gives them an approximate sum to deliver it, or, a brief is put out to tender, to which an agency or studio sells a creative vision for a set price. The success of a pitch rests on reading the brief and responding with a vision that delivers what is asked. The success of the project, by comparison, rests on delivering this for the widest possible budget surplus.

“Sometimes at pitch stage clients just want to know ballpark figures,” says The Partners’ Greg Quinton. “Sometimes we have to flesh out every detail, every person, every hour and every penny. Our preference is always to talk about the work first, and look at budgets after. But we don’t go into that situation blind, we try and identify how serious they are.”

The common fear is that by optimistically pricing your work, you will be less competitive in the tender. But this is far from true. What’s much more damaging is not being able to price your pitch realistically. By underpricing your proposal you run the very real risk of not only gaining little profit, but by overspending to the detriment of your business’s bottom line. Fortunately there are some excellent resources available online on how to competitively price a pitch, including this guide from The Cultural Enterprises Office: http://bit.ly/CEOBudgetGuide.

Last year’s Design Industry UK Business Services Review discovered that of direct fee-paying clients (that is, those who put out open tenders), only 18 per cent of new businesses went to the lowest priced pitch. Creative vision is what wins business. Yet delivering that vision on a budget that maximises creative impact while protecting your profit margin is a delicate balance. How do you arrive on a sensible percentage of the client fee to spend? It’s a dark art, and one that differs from agency to agency:

“It’s really dull,” says Manchipp. “We’ve tried to make it more fun. More of a gamble. More ambitious. And more linked to the outcome and the financial goals of the project. None of them work [for us]. So we estimate how long it’ll take, how many people will be involved, what our overheads are and what the hourly rates attached to the people are, and bingo: an estimate.”

A typically ‘healthy’ business in the UK will aim to run at between a 25 and 35 per cent profit margin,

Agency:

H e y d A y S h e y d a y s . n o

client:

N e v e r l e t G o

adventure gear manufacturer never

let Go commissioned norwegian studio

Hey Days to perform a full rebrand and

strategic site redesign. With so many

aspects to account for the budget, the

project needed to be carefully handled:

“it’s important to get the balance

as right as possible – estimating too few

hours could be a disaster,” says lars

kjelsnes, designer and partner at the

studio. “in most cases we set a budget

before a pitch stage, as we want to be

clear that we see eye to eye on the

financial bit before we do any work.”


branDinG expertise

type/illustration

printinG anD proDuction

pHotoGrapHy

viDeo/animation





according to the Department of Trade and Industry. With a project budget covering direct costs such as materials, equipment, location hires, perhaps specialist photographers or illustrators; and overhead costs including permanent staff and other operational elements, it’s important to have a firm grasp of what expenditure the project is likely to have. Not necessarily to the bean, but certainly as realistically forecasted as you can manage. Being cautious is key, as is planning in a contingency sum of around 5-10 per cent of the project budget to pay for any unexpected costs without hitting your surplus.

A w o r k i n g b u d ge t The assumption that a budget is rigid is one that hobnails even the best business brains. Successful budgeting is about constant management, and not eagle-eyed expense watching. Each one of the agencies and studios we spoke to for this article reinforced the notion that in order to get the most out of a budget, you have to put in a great deal of time, energy and expertise. For example, partitioning off creative spend at the beginning of a project and relying on a contingency fund should any of the individual areas run over results in what’s called ‘silo’ thinking. What better than to pool resources or use hired facilities for multiple projects, or offer more work to a director or developer already working on an existing project? This is where studio managers and production heads earn their crust, and underlines the critical relationship between account team and creative management.

“Like any relationship, you have to work together, on the big stuff and the tiny details,” says Quinton. “As much as you’d like them to go like clockwork, projects rarely, or never, go exactly to plan because they involve one important variable – and that’s people. ‘Enforcing budgets’ as a term is too black and white. Clients and people in general require flexibility and understanding. Budgets are more like a plethora of greys.”

The age-old assumption that a feud exists between accounts and creatives has long been dispelled. Client relationships don’t hang by a spreadsheet, and budgets can be renegotiated. But it’s cashflow that remains king. Your project might have a number of upfront costs which the payment schedule doesn’t take into account, or material costs might only occur in the first few stages of a project. In these instances it’s key to map your creative production plan against the project budget and cashflow.

“Remember when you are looking at your budget, don’t just go through all the income, costs and

Agency:

S p i n w w w . s p i n . c o m

client:

U N i v e r s i t y c o l l e G e o F t h e a r t s

undertaking a full rebrand across

multiple channels including web, print

and display showed how well the balance

between creative and accounts teams

works at london-based agency spin. “it

is critical for the accounts and creative

side of the business to have the same

ambition for the studio or project’s

output,” says mD patricia Finegan. “if the

relationship is not good then the design

team can feel the pressure of cost and

time, which inhibits creative output. on

the other side, if the design team is not

mindful of the importance of working

efficiently with some responsibility to

the budget then it’s very difficult to

run a solvent creative business.”

branDinG expertise

DesiGn (including new collateral)

project manaGement


Spin created a new visual identity for the University for the Creative Arts, a group of art and design colleges in Kent and Surrey. The identity is based around a logo featuring the acronym UCA in stencil lettering beside the university’s full name.

Spin also designed a series of patterns to use within letterforms for use on prospectus covers and university posters. Consultation meetings with staff and students clarified the nature of the new identity as one that reflected creativity and collaboration



articulated its core story: ‘Bleed and Breed Art’. A unique brand pattern was made from the new logo symbol: both aspects reflect a desire to turn the art world upside down

DeviantArt, the world’s largest online social network for art, approached Moving Brands to undertake a massive rebranding, as well as the design of a new app. To guide these changes, MB



contingency – also [ask yourself] ‘am I going to run out of money at any point?’,” states Kathleen Benham, founder of Benham Conway & Co Chartered Accountants, whose excellent resource, Understanding Project Budgets, is available for free on the Cultural Enterprise Office site. “It might be that you have a surplus at the end of the project but part way through you have a deficit. If you can identify that this will happen in advance, you can say, ‘We’ve done the cashflow for this project and instead of giving us 40 per cent, 40 per cent and 20 per cent, can you give us 60 per cent, 20 per cent and 20 per cent?’ Your funder would much rather your project works. So looking at cashflow is important and something a budget often omits.”

M A k i n g b u d ge t s w o r k h A r d e r Getting the most creative clout from a project budget is what the world’s best creative directors are celebrated (and paid) for. Yet most of us are unlikely to be dealing with the kinds of six figure expenditures big agencies play with. There are ways to make a budget go further without cutting corners, though, whether working on a megabrand or a local restaurant logo.

Operational costs tend to be fixed, but bought-in talent and other material costs can be negotiated and made to work harder. All too often agencies look to a further service to supply creative talent – usually an agency working on behalf of a model, director, illustrator or photographer. Agencies vary wildly in their commission fees, but will reward repeat bookings and are often open to negotiation for those on their books who may be less in demand. Making good contacts at key agencies means that you will often get a heads-up on up-and-coming talent that doesn’t carry the heftier rate of more established names.

The industry is dependent upon new talent, though, and all of the creatives we spoke to advocated an awareness of degree shows and new design talent awards. The likes of WPP, McCann and BBH offer hotly contested internships and graduate placements. Why? Well magnanimousness and altruism aside, one reason is because (while arguably it shouldn’t), young talent costs less. New Designers, the D&AD New Blood festival and countless graduate shows should all be annual fixtures in your diary, not because they are cattle markets for cheap talent, but because they are exhibitions of young creatives who, if you invest in them, have the potential to deliver astonishing creative work as well as manage a budget.

The same should be applied to exporting work. This is especially true of developer and coder ‘farms’

Agency:

m o v i n g B r A n d S m o v i n g b r a n d s . c o m

client:

D e v i a N ta r t

the web’s largest social art and design

site required a massive brand overhaul

and functional app to put art and design

in the hands of its 32 million mobile users.

the budget breakdown reflects this

complex project which encompassed

rebranding and identity work alongside

rigorous a/b, ui and ux testing – a

true mix of technical delivery and

creative realisation. moving brands also

created an entire new set of icons and

navigational elements drawn from the

new branding’s intention to ‘bleed

and breed art’, and launched the new

identity and app with a bespoke microsite

and a series of short films.


branDinG expertise

typoGrapHy/illustration

licensinG

researcH anD Development

researcH anD strateGy

story anD cHaracter Dev

branD system DesiGn

branD GuiDelines/assets

researcH anD strateGy

ux/inFormation DesiGn

ui/ interaction DesiGn

motion prototypinG

BraND iDeNtity

MoBile app DesiGN

proJect overall



master the art of branding. In an extended special report next issue, the shortlisted agencies from our very own Brand Impact Awards – which include SomeOne, Moving Brands and The Partners – share their expertise on creating world-class branding for any market sector. We also reveal who scooped the coveted awards themselves...

at Moving Brands, is it common practice to set a budget before or after the pitch stage? Why do you work like this?our first step, whether it’s a pitch response or a request for proposal from an existing or new client, is to qualify the project: whether the client’s needs match our expertise; whether their timing and budget parameters align to how we would best deliver on their objectives.

in regards to budget, we give an indicative scope and budget parameters early on to help the client understand how we would approach the work and the related cost. the reality is it will take numerous conversations to properly scope the needs, shape the team, plan the timings and project milestones.

how do you typically arrive at a final figure for a creative budget?We build a project plan from scratch for every project, to ensure it’s fit for purpose. this process involves the programme lead, the creative lead and consultant.

1 . Discuss and clarify the client needs2. build the right shape team of experts to deliver on the needs3. build a project plan which includes scope, timings and of

course budget4. share and discuss the plan with the client, until a mutual

agreement is met on all aspects.

Do you think creatives really need financial knowledge, or should p&l lines be left to the accounts team?We’re a creatively led business – our ceo joined the business as a design intern, our founders are film-makers and designers. We’ve never believed in silos and don’t think that p&l lines should be left solely to the accountants.

at a project level, our creative directors are involved in scoping every project they lead, and alongside the programme directors are jointly responsible for both financial performance and creative excellence.

so yes, a good proportion of our creative team need an understanding of the financial aspects, because it’s part of being able to effectively scope and deliver on all briefs, and to run a successful global business.



H o l d i n g t H e b u d g e t

where costs (and even results) might be attractive, but support and licensing issues are widely reported. There are many excellent examples of international creative services if you research properly, and some in-depth guides available from resources such as the Design Business Association (www.dba.org.uk) are a solid starting point for the export implications to your business. Finding and commissioning individual international illustrators, photographers and other creatives is straightforward. Outsourcing artwork production and coding to overseas companies carries increased liabilities.

k e e P g o o d c l i e n t s h A P Py Whenever the work is produced, repeat business is famously more profitable than new business, so keep your most profitable clients the happiest. With cashflow in mind, some agencies review their client roster as often as each month. Doing so enables them to forecast your cashflow effectively and drop or refuse non-or-low profit work. There’s little point taking on a project which dents the bottom line. Without good reason, anyway…

Indeed, sometimes it is worth lowering your rates, whether as a loss-leader in anticipation of more regular business, or as a pro-bono gesture to a charity or other cause. In these instances timing is crucial. Free or discount paying clients won’t mind waiting until your cashflow is in a stronger position before you undertake the work.

If you’re one of the 5.2million SMB’s in the UK, you might want to consider investigating skills swaps. Networking events and creative industry sites in your area will introduce you to potential collaborators. Perhaps you need an app developing, which you could exchange for a logo and branding redesign. Consider what your lowest in-house costs are and offer those out to other local businesses which may need something in return.

Budgeting is one of the less glamorous areas of expertise in the creative trade, but ultimately it is one which studios have an element of control over: “The pitch process dictates all,” explains Quinton, underlining that the creative concept must always come before a costing. “Anyone who cares about the work wants to avoid pitch decisions being made on budget alone.” Managing that budget and getting the most out of it is what commercial creativity is really all about.

We talk to paul Martin, global operations director of Moving Brands, and find out how budgets work in one of the world’s most celebrated agencies...



Entrants to the Brand Impact Awards 2015 include: Pentagram Lambie-Nairn R/GA Landor Associates

Moving Brands Turner Duckworth The Partners

johnson banks Sagmeister & Walsh GBH

The Brand Impact Awards celebrate

the very best branding work, as judged by

a stellar panel from top agencies including

GBH, Wolff Olins and The Partners, plus

client-side judges from top brands such

as Coca-Cola, Mars and adidas.

Join the world’s top branding agencies for

a glittering ceremony on 16 September 2015

at London’s Grand Connaught Rooms.

Book your seat now at:

www.brandimpactawards.com

Don’t miss the branding event of the year!

poolside VieW In search of a life-changing experience and a

fresh creative challenge, Michelle Phillips and Johannes Conrad left Brighton for Berlin to

found a studio in an old public bath house

s t u d i o y u k i k oMichelle Phillips and Johannes Conrad have

been running Studio Yukiko since 2012, working in close partnership with artists, designers, photographers,

cinematographers and programmers.www.y-u-k-i-k-o.com

Words: Tom May and Julia Sagar

PhotograPhy: Matthias Steffen www.matthiassteffen.com

s e p t e m b e r 2 0 1 5


the way we work together approaches a different level. We see more eye to eye with the client and it becomes more of a collaboration.

What would you say is the secret to successful creative collaboration? A successful collaboration means for us that a certain part within a project develops into something that was previously not anticipated. When working within or leading a team it’s important at times to let go of the most minuscule aspects of your vision and let others have freedom: that way something new and unexpected is allowed to happen.

Could you pick one project from your portfolio and talk us through it?Walt is a brand that specialises in classic gentlemen’s hats, aimed at a younger, fashion-conscious crowd.

now, that we can just do the projects we love. We were asked recently to brand a restaurant. Obviously we immediately said yes.

How does a studio with just two people work in practice?There are mainly just the two of us; we sometimes have a couple of freelancers helping out. We try and keep it small as we just want to do jobs that challenge us, that we really believe in. These tend to come with more fun than money but it doesn’t matter to us right now.

Like what, for instance?We do a fair bit of publication design for artists that can be low budget and are not so much commercially bound. They are often more personal projects for the client themselves, so the content is usually very interesting and


“ We Try and keep iT SMall aS We JuST WanT To do JobS ThaT challenge uS, and ThaT We really believe in”One of the annoyances about

being a creative is being at parties and having to

explain, in 10 words or less, the answer to: “What do you do?”. And that’s got to be tricky for Michelle Phillips and Johannes Conrad of Studio Yukiko. The pair design and art direct everything from music videos and fashion promos to print catalogues and coffee table books. Not to mention working on the latest issue of Flaneur, their own independent magazine which, quite uniquely, focuses on a single street for every issue. Clearly, they’re one of the hardest working teams in design. But what makes them tick? We asked a few questions to peel back the layers...

Why did you launch Yukiko? Having done individual stints in different studios/production agencies, we moved from Brighton and London to set up our camp in Berlin. We wanted to challenge ourselves, and not become too comfortable with our lives and jobs. We wanted an adventure. We’re quite lucky right

Left: phillips and conrad’s studio resides in one of berlin’s old public bath buildings Below: Much of their project work often ends up with them working alongside each other, often on the same computer with their hands crossed

S T U D I O Y U K I K O s e p t e m b e r 2 0 1 5


Walt hats: Studio yukiko created the corporate identity including the website for the los angeles-based hat maker. The narrative images were complemented with floating hats and a simple, timeless design


photos for the rundfunkchor berlin choir: these featured in their seasonal programme. all objects were made from delicate, rare marble made by christian lettow’s agency for contemporary objects

s e p t e m b e r 2 0 1 5I n c o n v e r s at I o n


Each contribution to the magazine depends on the street we portray: it’s the street that directs the outcome. That said, we take the liberty of really experimenting with design and the print format.

Of course, there is a certain signature look that runs like a thread throughout every issue. We really wanted to portray a certain formality of public design, so we use signposts, streetsigns – things you see on the street – and then play with breaking away from them, reworking them, putting things into a new context. Having fun is the priority for us when working on Flaneur.

How do you go about planning each issue in practice?Every time a street is chosen, we go there and spend some time on the street. We document it by walking up and down the street, sometimes with the artists or editors

in conversation, and taking a lot of photos of the street.

It’s important for us on these walks to find out not only the historical or contemporary context of the street but also to get a real visual feel for the location. That and the fact that 90 per cent of the contributors are local or have a connection somehow with the street, which means working every time with a whole new set of people. And believe us, attitudes and working methods can differ considerably from city to city. It’s something you have to adapt to very quickly.

We have a very close knit relationship with the editors and publishers, and they’re very open to whatever wild ideas we might have for each issue. Flaneur is so unusual because our collaborative approach is quite unique. It’s based on absolute trust within the team, and also we trust and encourage our contributors

Above: The main studio area is located on the third floor in a room that used to be a sauna just off the swimming pool

Our job was to create a CI for them that consisted of a logo, website, lookbook and so forth. We also art directed the lookbook photoshoot, as well as directing a promo video.

Our main aim was to create a whole image world for the Walt brand. We wanted to give it all a little bit of cheekiness as well as play with a dark and moody atmosphere. After a think, we came up with a narrative around three guys hanging out in an derelict building and betting on mice.

Another key ongoing project for Yukiko is Flaneur magazine – how would you describe its aesthetic? Flaneur always grows and constantly changes. The design just depends on the issue theme so much. It is really governed by its content, in the way we engage ourselves with the contributing artists’ works as designers, or rather by the way the projects tell us to do so.

S T U D I O Y U K I K O s e p t e m b e r 2 0 1 5


issue 4 of Flaneur Magazine: the street serves as a starting point for artists and writers. it contains over 30 contributors on 156 pages, and features an eight-sided cover with metallic foil and four paper sizes

guapamente issue 4: a design for ewen Spencer’s publication focusing on youth culture around the world. issues have included fold-out posters on chromolux paper wrapped around the cover

s e p t e m b e r 2 0 1 5I n c o n v e r s at I o n


We moved to berlin in 2010. but it took us a couple of years until we officially started the studio. at the beginning yukiko was more of a collaborative effort. We started making small music videos in our backyard and living room before setting up our first studio space (in an ex-swimming pool complex – very berlin!).

Moving to Berlin and giving up our jobs in bigger companies was a risk, but we really wanted to do our own thing and stretch our creative limbs. We needed a bit of time and space to experiment and we wanted to work under our own conditions; Berlin allowed us that.

We mostly worked for friends and with friends at first, expanding our creative network. At the beginning we would say yes to everything and do everything regardless of whether we knew we had the time. We would just get all our friends involved and make it work.

We worked from home, until we found the Stattbad (the pool building; Berliners know the place, as it moonlighted as a techno club). That would be our studio for the next couple of years.

Admittedly it was chaotic, but a glorious chaos. We would work through the night a lot but doing it with our friends, for our friends was really fun and energetic.

The swimming pool space was conveniently big enough for film shoots and photo shoots. That was liberating coming from our tiny apartment, which we continuously destroyed for shoots. Now we have a really elegant and quiet space next to other designers and architects.

It was a big change, but the time was right. It seems to reflect our current working methods a bit more, which are far more organised.

to run with their ideas, be they odd or wild – there are always some surprises along the way.

What is the biggest lesson you’ve learned from Flaneur? Always be in a dialogue with people, keep contributors happy, accommodate them. Don’t run over their work with your design. Put them considerately into your framework.

What advice would you give to anyone launching their own studio? Make friends with people who you want to work for first – interesting people, other creative people. It’s a lot more fun to work for people when you know what makes them tick.

Moving to Berlin

Don’t just do graphic design. Make other work, open yourself up, don’t be afraid to put it up on your website and call it ‘personal projects’.

Don’t listen to other people’s advice too much, but don’t think you know best all the time.

Mies van der Rohe once said: ‘Dont be original – be good’. It’s important to really know what you are doing and to concentrate on that. Sure, originality is extremely important, but it will come later. Focus your energy first on just being good.

If you were to launch a new studio tomorrow, what might you do differently this time around?We wouldn’t change a thing.

Phillips and Conrad reflect on leaving Brighton for Germany’s capital

Right: Studio yukiko’s meeting room is shared with an architecture studio on the same floor

OuR BIggEST CHALLEngE

“ don’T liSTen To oTher people’S advice Too Much, buT don’T Think you knoW beST all The TiMe”

B A CK IS SUE S

Never miss aN issue!Catch up on any thing you ’ve missed by downloading our digi tal back issues on iPad , Android and more. . .

Download Computer Arts’ multi-award-winning interactive iPad edition, or read a print replica on your iPhone or iPod Touch.

CA is also available on Google Play and Zinio, as well as Kindle, Nook, Windows 8 and more.PREFER TO READ ON ANDROiD, PC OR MAC?

GOT AN APPLE DEViCE?

issuE 240sPRiNG 2015Promote yourself: self-promo techniques that really work, plus get on the speaker circuit and develop an intricate wordmark.

issuE 241juNE 2015Character design secrets, stage an exhibition in a week, D&AD Awards judging insights, plus Wolff Olins on branding guidelines.

issuE 239MAy 201520 ways to enhance your print and digital projects, create your best ever branding, plus exclusive video behind the scenes at GBH.

issuE 242juLy 2015The future of type explored, the Unsung Heroes of design, the designer’s guide to accessibility, and how to retain the best talent

issuE 243 AuGusT 2015 The new stars of design D&AD cover contest results How to be a team player

Get more from an internship Craft a negative space logo Free Design Career Handbook

You’ll find additional imagery, exclusive audio and video content in every issue, including some superb screencasts that tie in with the practical projects from the issue’s authors. Don’t miss it!

TRY IT FOR FREE TODAY WITH OUR NO-OBLIGATION 30-DAY TRIAL AT UK: netm.ag/itunesuk-271 US: netm.ag/itunesus-271

MAGAZINE IPAD EDITIONThe iPad edition of net has been completely rebuilt from the

ground up as a tablet-optimised reading experience.

TRY IT FOR FREE TODAY!

s e p t e m b e r 2 0 1 5 I N T R O P R O J E C T S


Computer Arts goes behind the scenes with world-leading designers as they reveal their working processes…

INCLUDES PRO WORKFLOW ADVICE

Plus: the latest tools and tech for designers

ACRF: PICTURINg CANCER ’S DEmISEHow Re: developed a typographic, powerfully disruptive identity for the Australian Cancer Research Foundation 76

mANAgE yOUR PROJECT CAShFLOW Essential tools to help you organise your finances and see a creative project through to the end 94

ART DIRECT AN AmBITIOUS BR AND CAmPAIgN Designer Dave Wood reveals how GBH orchestrated a global print campaign for Arsenal FC’s PUMA kit 83

PLUS:

ROAD SAFE T y SCOTL AND: DON’ T DRINK AND DRIVEThomas Danthony reveals how his illustrated campaign for the Scottish government took shape 87

COCOON: UNWR APPINg NE W FRONTIERS IN 360 DEgREESFactory Fifteen take a dome venue and create an immersive video installation 90

page://76

page://90

page://87

page://94

page://83

PROJECT FACTFILE

BRIEFThe Australian Cancer Research Foundation (ACRF) approached Re: Sydney to create a new visual identity to reflect the charity’s unique position and purpose – and to broaden its audience with a positive message reflecting the work it does to fight the disease.

AgEnCyRe: Sydneywww.re-sydney.co

TyPE DESIgnERMathieu Réguerwww.mathieureguer.com

PROJECT DuRATIOnSix months

LIVE DATEApril 2015

s e p t e m b e r 2 0 1 5P R O J E C T S

CoMpuTeRARTS.CReATivebloq.CoM- 76 -

ACRF: EVOKIng CAnCER ’S EVEnTuAL DEmISEWhen tasked with refreshing the identity for the Australian Cancer Research Foundation, agency Re: Sydney merged a meaningful typographic approach with an equally powerful tone of voice

A refreshing use of typography and tone of voice was at the heart of the ACRF’s new identity

alex creamerdesigner

An internationally awarded designer at Re: Sydney, Alex has over four years’ experience in both the uK and Australia. before joining Re: he worked at interbrand Sydney, specialising in packaging – and his clients have included Telstra, Woolworths and optus.

ThE DESIgn BRIEFAlex Creamer

Re: Sydney is the branding arm of M&C Saatchi Sydney. Tom Dery, the worldwide chairman of the M&C Saatchi Group, is also the chairman of the Australian Cancer Research Foundation (ACRF).

The foundation dedicates itself to funding cancer research by awarding grants for high-end equipment purchases and infrastructure development. They award between $1.5m and $10m to the people and institutions that are working towards finding the cures to cancer. They receive no government funding and rely solely on private donations. In 2014, ACRF was facing some challenges as far as getting donations. Traditionally, a large portion of their donations has come through bequests in wills. However, as the charity market grew, and their core audience aged, ACRF needed to create a more consumer-facing brand in order to reach a broader audience and compete in the sector. So thanks to the

associations between M&C Saatchi and the ACRF, Re: Sydney was asked to work on the rebrand.

The original brief was quite open. What ACRF stands for is very exciting, and they wanted to get people to understand who they were and what they did. They also wanted to start to resonate with a younger audience. A lot of charity brands look to branding agencies to educate them on what goes on in the rest of the world, branding-wise, and the potential of good branding.

The ACRF had also recently purchased a top-level domain, ‘.CancerResearch’, so another part of the brief was asking us whether we could incorporate that into the identity. They felt that this top-level domain could start to push the company into a much bigger space, where they became the hub for cancer in Australia and potentially globally. So it was a good opportunity for them, both financially and visually.

s e p t e m b e r 2 0 1 5 D i A r Y ˚ 1 : r e s Y D n e Y


Project at a gl anceAlex Creamer explains how Re: Sydney developed the new identity

7 Bold coloursThe original colour was a light green-aqua. We needed to be much bolder, so we punched that up to a teal colour. The colour lavender represents cancer in all its forms, so we chose a vibrant purple to complement the teal, and the pink makes sure the palette was bright and flexible enough.

1 From old to newThe previous ACRF identity was straightforward, with a crab as the cancer reference, and a simple sans serif font. The colours were muted and their tonality reflected a sense of grieving and loss. So the new identity needed to communicate much more – that the foundation is a force for good.

4 Typographic approachquite early in the process, we came up with a distinctive typographic approach to reflect the central idea of the identity. We wanted to create a typeface of varying weights to represent how some cancers are close to disappearing, while others remain still very visible.

2 Positive allusionsThe central idea is the notion that a world without cancer is a world without cancer research. We wanted to be bold and catch the attention of people, but didn’t want to allude to death too much. The copywriter was involved right from the start, as a lot of the brand is built upon that tone of voice idea.

5 Bespoke typeWe commissioned paris-based typographer Mathieu Réguer to create the bespoke typeface which we felt needed to encompass a variety of weights. At our request, Réguer then built an algorithm into the typeface, allowing letter weights to alternate depending on the letter preceding it.

8 human identityThe human element of the identity was incredibly important. The illustrative style – created by junior designer and illustrator olivia King – is friendly, organic and hand-drawn, and incorporates ‘smile in the mind’ ideas that relate to the messaging of the overall identity.

3 Tone of voiceWe always get the copywriter involved right from the start, especially with charity brands. A lot of the output they work with day-to-day is on a smaller scale, so having a strong tone of voice was very important for them to translate the brand across other touch points.

6 Strong logoThe logo is a simple stacked ‘Australian Cancer Research Foundation’. We included the top-level domain .CancerResearch in much of the material, as a sign-off to the messaging. The full stop symbolises the end of cancer, which ties in nicely with the identity. it’s definitive and strong.

9 Strength and defianceFor the photography, finding the right tone was also crucial, to add warmth and compassion to the imagery. The photography strives to capture real people with a sense of strength and defiance, without overtones of sadness or pity. it was important to find that middle ground.



The original presentation to the client didn’t differ much from the final outcome

A bespoke typeface of different weights materialised early in the design process

The creatives split into different teams to explore the brand proposition and themes

InITIAL COnCEPTSThree ideas ThaT didn’T make iT Through

At first, we explored ways to use the typeface idea and colour palette with copy that had a spirited, positive tonality. but it ended up feeling a bit hollow and generic, so we decided not to pursue that route.

The Australian Cancer Research Foundation brings research together, from breast cancer to prostate cancer and so on. So we looked into another concept built around the idea of connections. However, it felt overly designed.

We also put cancer research itself under the microscope. We played around with the idea of cells and forming shapes – and translating that visually. However, we discarded this approach, as we felt it was being too literal.

WORK In PROgRESSAlex Creamer

We always start with getting a good idea of what’s going on in the market. We looked at other charity brands like Macmillan Cancer Support in the UK, the Cystic Fibrosis Trust and Alzheimer’s Australia. They’ve all done a really good job of disrupting the category they’re in. This audit also helped educate the client on the benchmarks that had been set by others.

We split into teams and began to work to come up with ideas around the brand proposition and themes. There were obviously some really serious issues the brand needed to encompass, but there were a lot of positives too. Ten years ago, for example, the ACRF created a jab for cervical cancer for teenagers, which had a great success rate.

Our writer Shannon Bell worked alongside both teams from the beginning and provided the Eureka line that eventually formed the concept we went ahead with: ‘A world without cancer is a world without cancer research’. From this point on we merged teams and began to ideate together. It was important that all assets in the brand told a story and weren’t just there for decoration. Our senior designer at the time, Joao Peres, brought the idea of a mixed-weight typeface to the table to represent the gradual disappearance of cancer.

We commissioned French typographer Mathieu Réguer to create the bespoke typeface. We’ve worked with Mathieu on a few rebrands over the past two years, most notably Optus. He is great, as he will send eight to nine different ideas of what the type could look like, and that gives us an opportunity to try out what works and what doesn’t. Mathieu built an algorithm into the typeface, allowing letter weights to alternate depending on the letter preceding it. This brought an energy and unique quality to the typeface we hadn’t expected.

shannon bellhead of idenTiTy

As the head of Re: Sydney’s verbal identity department, Shannon has created names, brand voices, messaging and communications for household brands including optus and iAG insurance. She has over 10 years’ experience across editorial, advertising and brand writing.

s e p t e m b e r 2 0 1 5 D i A r Y ˚ 1 : r e s Y D n e Y


The whole team pitched in to come up with copy for the project and collectively ensured the right tone for the client, and a consistent message for the public-facing identity

head of idenTiTy shannon bell explains how The Team came up wiTh The idenTiTy concepT

WE ARE ALL CLOSE T COPy WRITERS

it was definitely the one line – ‘a world without cancer is a world without cancer research’ – that led us down the path we went on. i wrote the line ‘Help fund our demise’ because i thought it was interesting that the organisation was essentially working to put itself out of business.

i’d like to say i immediately latched onto that one as the direction for the whole identity. but it wasn’t that straightforward. it was in a team brainstorm session that we saw the potential for that sentiment to play out more broadly.

one issue was the idea’s focus on ending things, and the potential for words associated with death to become too prevalent. The whole concept rests on the idea that ending cancer is a realistic and achievable goal. So the broader tone of voice focused on conveying a sense of optimism.

The original line and the copywriting was critical to the overall identity. it certainly informed the font, which is generative and designed to look like it’s disappearing away into nothing.

our designers are all closet copywriters. it was fun to find lines to suit the different applications. We’re quite competitive (in a good way), with people throwing down pencils when they come up with an amazing line and awkward silences for the ones that don’t quite cut it.

P R O J E C T S


s e p t e m b e r 2 0 1 5

Happy by pHarrell WilliamsThe ubiquitous Happy by pharrell Williams was definitely on our project soundtrack. We are only human after all – you can’t deny that it’s a catchy tune, and we all loved the 24-hour music video.

blackbirdby Fat Freddy’s dropThe reggae-fused New Zealand band Fat Freddy’s Drop and its third studio album blackbird was a constant listen during the project. it is uplifting and positive. in my opinion, reggae is the answer to all of life’s issues.

bound 2 by kanye WestThe music video alone for the track bound 2 by Kanye West, from his album Yeezus, was incredible. At one stage, we watched it on repeat. And the song was whistled and hummed for weeks afterwards.

PROJECTSOunDTR ACKalex creamerreflecTs back on The Tunes ThaT kepT The projecT Ticking along in The re: sydney sTudio

The human element was crucial. The final identity disrupts many charity sector conventions

COnCLuSIOnAlex Creamer

The project was quite a fluid process. We started off working separately, and then ended up working collaboratively. This kept the ideas flowing and made the overall project much more enjoyable to work on.

We felt the idea was strong and this led us to present just one idea to the client. The meeting was a success and everyone (including ourselves) was pleased with the outcome. It was important that ACRF came on the journey with us and understood our thinking behind the brand, and that allowed for a very collaborative and exciting presentation which opened the floodgates for the future of the charity.

The use of the top-level domain also played a large role in getting the idea over the line. The top-level domain .CancerResearch is used as a tag, or a sign-off to the messaging. The full stop symbolises the end of cancer, which ties in nicely with the identity. The client really liked this link and the potential it held for the future of the brand.

Our original presentation didn’t differ too much from where we are now. We tweaked a few colours later on, but largely stayed pretty true to the original idea. The logo is a simple, stacked typographic treatment of Australian Cancer Research Foundation. It is important to create something that is easy to use and flexible.

The foundation is really happy with the outcome. We worked with them to release the identity through small steps, because they were a little bit nervous about releasing it all at once, and they don’t necessarily have the funds to roll out a huge campaign.

The overall identity sits well alongside those other charities I mentioned. It’s a really good disruptor within that category and will hopefully achieve the job of getting people to notice it, and more importantly donate to the cause.

LONDON 17-18 SEPTEMBER 2015Explore CSS, UX, web performance strategies,

the Internet of Things, app icon design and much more!

TICKETS ON SALE NOW!generateconf.com/london-2015

ERIC MEYERCONSULTANT AND CSS PIONEERmeyerweb.com

RACHEL ANDREWCO-FOUNDER, EDGEOFMYSEAT.COM rachelandrew.co.uk

SARA SOUEIDANFRONTEND DEVELOPER, WRITER AND SPEAKER sarasoueidan.com

Follow @netmag for details

TRY OUR AWARD-WINNING DIGITAL EDITION FREE!

Get two issues of CA absolutely FREE with a no-obligat ion 30-day tr ial , and enjoy the mag ins tant ly – wherever you are in the wor ld!

Winner of Visual Arts Magazine of the Year two years running at the Digital Magazine Awards, Computer Arts’ iPad edition is tailored for tablet and packed with interactivity, exclusive video

content and bonus image galleries*. Print replica also available for other devices.

digi ta l OF F E R !

iPad and iPhone: bit.ly/CA-iPadAndroid devices: bit.ly/CA-GooglePlay

Start your free trial on your Apple or Android device

TRY IT FOR FREE TODAY!

31%

SAVEUP TO

*Please note – interactive features are only available on the iPad edition.

GBHGBH is a team of 20 people, working from its London studio for a diverse mix of clients across design, advertising and digital, including Apple, BMW, Eurostar, Puma, Starck and Royal Mail.

art direct a global sports campaignDesign director Dave Wood reveals how GBH captured the history and core values of Arsenal FC in a campaign for its new Puma kits

proJect FactFile

brieFResearch and design an extensive print execution as part of a wider campaign to celebrate the launch of the 2014/15 season home, cup and away kits for Arsenal FC, in partnership with Puma.

agencYGBHwww.gregorybonnerhale.com

designerDave Wood

stUdio sKills• �Define a client’s core principles, and communicate them as brand values

• �Collaborate closely with photographers and retouchers to guide composition

• �Produce brand guidelines to ensure consistency across a global campaign

s e p t e m b e r 2 0 1 5

CoMPutERARtS.CREAtivEBLoq.CoM- 83 -

V I D E O WA L K T H R O U G H : G B H

V i d e o W a l K t H r o U g H

v ide o c on t e n t

watcH tHe video at bit.ly/ca244-gbh

or in our ipad editionSee page 82

After the shoot, the images were digitally edited to form dymamic collages

1 initial researchWe began the print project by researching into Arsenal’s history, identifying iconic moments from the Arsenal Pics archive. these images were to be featured within the overlaid ‘colour-bleed’ montage, as a way of bringing to life the values of the club.

4 image selectionsFollowing the shoot, we started to edit the selection by physically collaging and grouping images together, to find dynamic, powerful compositions. We then created rough layout guides to give to the retouchers, tapestry.

7 Final imagesover 100 images were retouched to provide a flexible, outdoor and point-of-sale campaign, with the ability to cast Arsenal’s local heroes across Puma markets worldwide.

dave wooddeSiGn director

As design director at GBH, Dave works across creative disciplines for clients including virgin Galactic, PUMA and The America’s Cup. He also enjoys teaching, and is a regular visiting lecturer at Arts university Bournemouth (AuB).



2 0 1 5

design tasK

We’ve been working with Arsenal and Puma for the last two seasons, creating campaigns to launch each new kit. The 2014/15 season marked a new era of partnership between the club and Puma, with an appetite from both sides to create a big launch for the cup, home and away kits. The project involved teaser films played out over nine consecutive days, a river Thames projection event (broadcast live to an online audience, totalling 141 million views), online film and social media content, and an extensive print campaign, which I’ll focus on in this walkthrough.

We named the new trio of kits Future, Forever, and Victorious, to reflect the club’s core principles of Innovation, Community and Excellence. The product collection, launch event, advertising and social media efforts were built around, and united by, the club’s own values, with a deep respect for its history and engagement with fans.

For the print executions, we wanted to create an ownable look and feel, which could feed into the other areas of the campaign and bring these values to life. We arrived at the execution of ‘soaking’ the club’s values onto the kits via an alchemy of colour and imagery, literally enveloping the current players within Arsenal’s rich history. We worked closely with photographer David Clerihew, who shot the main campaign imagery, and retouching experts Tapestry to finally deliver over 100 print executions for use worldwide.

Watch the video now on our YouTube channel: www.bit.ly/ca244-gbh

2 defining the styleWe experimented with the treatment to define how the archive imagery would integrate with the players. We then worked up rough visuals before the photo shoot in order to help brief the photographer and retouchers on the art direction of the campaign.

3 photo shootWorking with photographer David Clerihew, a three-day shoot took place close to Arsenal’s training ground at London Colney. Sports choreographers were on set to help direct and dramatise the players’ movements for camera.

5 elements shootWe spent a day in the studio, experimenting with different smoke and ink effects on glass, fabric, and in water, to help create more depth and dimension to the final images.

6 refinementAfter the graphic treatment was set, each image had to be continuously reviewed. Special care had to be taken to ensure a variation of imagery was used within the colour-bleed, and all major creases and wrinkles on the kits had to be removed in post.

8 campaign guidelinesA guidelines document was created to demonstrate how the print advertising should be laid out using the specified branding. ‘Dos and don’ts’ were included to ensure brand consistency.

9 applicationthe print campaign ran in Puma stores worldwide. in addition to taking over Arsenal’s stadium store ‘The Armoury’, outdoor advertising appeared in and around North London, close to the club’s home.

s e p t e m b e r 2 0 1 5


V I D E O WA L K T H R O U G H : G B H

Save up to 55%* WItH a global SubS de alWherever you are in the world, take out a subscription to Computer Ar ts and get delivery direct to your door

Gl ob a l of f e r

SubSCRIbe oNlINe at w w w.my favouritemagazines.co.uk /CaSubS15

Terms and Conditions: *Prices and savings quoted are compared to buying full-priced print and digital issues. This offer is for new subscribers only. You will receive 13 issues in a year. If you are dissatisfied in any way you can write to us or call us to cancel your subscription at any time and we will refund you for all unmailed issues. Prices correct at point of print and subject to change. For full terms and conditions please visit: myfavm.ag/magterms. Offer ends 15/10/2015

pRINt 13 issues delivered to your door Premium special cover finishes Includes international shipping

Europe from €49.50(Save up to 32%)US/Canada from $65.50(Save up to 47%)Rest of the World from $70.00(Save up to 44%)

dIgItal Multi-award-winning iPad edition Exclusive video insights and interactivity Get instant access to the latest issue

Europe from €30.00 (Save up to 38%)US/Canada from $30.00 (Save up to 47%)Rest of the World from $30.00 (Save up to 47%)

pRINt + dIgItal Choose when and how you read your magazine 13 issues included in a one-year subscription Download to your Apple or Android device

Europe from €63.00 (Save up to 46%)US/Canada from $70.00 (Save up to 53%)Rest of the World from $83.50 (Save up to 53%)


D i a r Y ˚ 2 : T h o m a s D a n T h o n Y s e p t e m b e r 2 0 1 5

PROJECT FACTFILE

BRIEFscottish agency leith turned to French illustrator thomas Danthony to create a stylish set of images for a new drink-drive campaign for the scottish government, juxtaposing the lure of summer with the serious consequences of driving under the influence. ILLUSTRATORthomas Danthonywww.thomasdanthony.com

AGENCYleithwww.leith.co.uk

PROJECT DURATIONone week

LIVE DATEJune 2015

thomas danthonyillustrator

thomas Danthony is an illustrator from montpellier in the south of France. For a few years he has been living in london, where his studio is based. He works on various projects, from advertising to editorials for international clients such as Google, liberty, the New republic and Netflix.

DON’ T DRINk AND DRIVE: SUNNY, BUT SERIOUSThomas Danthony applied his love for detail – and retro travel posters – to this summery brief for the Scottish government’s new Don’t Drink and Drive campaign



kEEPING CONSISTENCYDue to the short project timeframe i kept the sketches very rough. once my three colour sketches had been signed off, i started drawing the final pictures using mainly photoshop and simple tools like the pen, brush and eraser. Working on all three posters at the same time helped me to keep the consistency throughout.

FINDING SOLUTIONSthe agency already had precise ideas for the compositions, so even if i played around a little to try to find a better view – for example, trying out a front view for the car scene, or a different viewpoint in the cell – most of the time we stuck to their original ideas. still, it’s always good to explore other options for better solutions.

SkETCh BEFORE RESEARChi try to start sketching before doing research, which gives me an untainted basis for my image. then if i need to draw specific things i look them up online, more for accuracy really. For example, i had to draw a specific police car for the Don’t Drink and Drive project, so i had to reference the right type of car.

thomas danthony describes how the campaign illustrations came together

PROJECT EVOLUTION

STAGE ONE if i need to draw specific things, such as this breathalyser, i look online for reference images

STAGE TWO i like exploring different views at a project’s early stage

STAGE SIX i had to make a few requested changes - for example, to remove the toilet lid in the prison cell

ThE DESIGN BRIEFThomas Danthony

The Scottish government got in touch via Leith agency in Edinburgh, about their new summer campaign for road safety. The punchline for the campaign was ‘Every two minutes a driver gets pulled over. Don’t spoil summer. Don’t drink and drive’. Along with a radio ad, they needed three different posters, which were to be used for billboards, newspapers and magazines.

The agency wanted the poster to be ‘a contemporary version of the brilliant old travel posters we used to get’ and they thought my style could create the right atmosphere.

It needed to be very summery, with bright and vibrant colors. They already had precise ideas for each poster regarding the composition and the scenarios: ‘a guy in a cell, looking like he is resting on a lounge chair on the beach, except that he is in jail’, for example. I usually work with a limited palette of colours, so the brief was also pushing me slightly outside of my comfort zone, which is always something interesting in a project. With a bit more than a week for the whole project, it was a tight deadline, so quite a challenge for me to complete the posters in time.

STAGE FIVE When the sketches are locked down i polish the illustration. it takes quite a while, as i am a perfectionist

s e p t e m b e r 2 0 1 5 D i a r Y ˚ 2 : T h o m a s D a n T h o n Y


hOw I wORkThOmAS dANThONy ON ThE INS ANd OuTS OF hIS crEATIVE prOcESS

understanding the need of the client is the starting point of any project. i like to take notes and draw thumbnails on paper to pencil the basics. When time is tight, i start sketching directly in photoshop with a Wacom – it’s quicker to play around with ideas, compositions and colours. those rough colour sketches are the first things i send to a client. once they’re happy with it, i start to draw the final illustration. even if i sometimes use illustrator for drawing complex shapes, the final image is always created with photoshop in pixels.

i have a background in product design, which influences the way i create images. i like to achieve a certain level of finish in my illustrations, so i spend a lot of time on details that probably won’t even be noticed, but it’s important for me to know that i am happy with every single stroke or curve.

lately my approach has been slightly more minimalistic in composition – aiming for simplicity gives my work a bolder and more striking look.

ThE PERFECTIONIST once the sketches are locked down, the proper drawing process starts. i’ll polish the composition and colours, but also draw every element and detail. this stage takes a while as i am quite a perfectionist. i also correct the perspectives from my first drafts, so the final image displays the right angles, depth, lighting and shadows.

COLOUR CORRECTIONit took a while to get the colours right. For example, in the cell scene, the feeling wasn’t summery enough. as it was a prison, my first instinct was to go for darker colours, but the agency wanted to keep the outside summer feeling. it was a bit tricky to achieve, but eventually i found a solution to get the right atmosphere.

STAGE SEVEN the process was a bit complicated, but in the end i think the illustrations look good

A FEw ChANGESi had to make a few changes; some were easily fixable, others not so much. For example, we realised the cars were on the wrong side of the road. i am French, so i naturally drew them on the right side. i also had to remove the toilet lid in the prison cell as “it could cause injuries”, and gave the man a shirt instead of a t-shirt.

FINAL APPRECIATIONi think the reaction has been good so far. people seem to really like it. For me the process was a bit complicated with a very short turnaround time. in the end and after some doubt in the process i think they look good. i really like the picture of the cars, because even outside of the campaign, the image can stand for itself.

STAGE ThrEE i kept the sketches quite rough and worked on all three images at the same time

STAGE FOur the colours needed to be bright and vibrant – it took a while to get it just right

P R O J E C T S


s e p t e m b e r 2 0 1 5

The Design BriefJonathan Gales

This project was pretty opportunistic for Factory Fifteen. We’re a creative studio that combines architectural communication with film direction, production design and visual effects, and have always worked with traditional 16:9 traditional video format.

Co-founder Paul Nicholls was scheduled to do a talk about the notion of downloadable space at the SAT Immersion Experience Symposium in Montreal. Because SAT has this amazing 360-dome-projection screen that’s part of its permanent immersive event space, Satosphère, we asked whether we could essentially R&D an animation test to try out on the screen.

That’s how it started, but then we wanted to treat it a bit like a creative project, with a conceptual

PrOJeCT fACTfiLe

Briefcreative production studio Factory Fifteen set itself the task of creating a series of animation tests for the immersive dome at the sat institute in montreal. the project turned into a creative challenge and offers fantastic potential for future narrative applications.

PrODUCTiOn sTUDiOFactory Fifteenwww.factoryfifteen.com

PrOJeCT DUrATiOntwo weeks

Live DATemay 2015

COCOOn: Unwr APPing new frOnTiers in 360In an intriguing experiment, Factory Fifteen created a spherical, immersive video installation in a unique dome venue in Montreal

narrative. We wanted to test how what we know, being in animation, translates to being immersed in that space. We decided to produce a series of tests, all stitched together and to do with the same architectural concept. The core idea was to start in one architectural space, which then un-peels, unravels or dissolves into another space. Essentially, the viewer is moving through a series of spatial experiences.

We previously thought about 360-degree film-making, but mainly from the perspective of virtual reality, as opposed to creating an installation. The opportunity at the SAT globe opened our eyes to other applications, and how you can use narrative storytelling in different ways than just on a VR headset.

D i a r Y ˚ 3 : f a c t o r Y f i f t e e n


s e p t e m b e r 2 0 1 5

Depth was quite interesting in the 360 scenario. in virtual reality, you have stereoscopic vision so you can perceive depth. but when you’re immersed in a dome with a singular projection, you have a single perspective, so depth is more difficult to convey. in a lot of the monochromatic scenes, we used light-temperature contrast, warm and cool light, to give a bigger sense of depth and to create space with light.

jonathan gales creative director, factory fifteen

Having graduated from the bartlett school of architecture, Jonathan co-founded Factory Fifteen in 2011. His work focuses on bringing together design and visual storytelling, across a wide variety of media.

PrOBLemsOLveDhow factory fifteen created a sense of space and depth using light contrasts

the ponte city tower in south africa was one of the spaces that inspired the team

the initial idea was to create more literal spaces for the film as the project progressed, they also developed more abstract spaces

wOrk in Pr0gressJonathan Gales

We worked in a relatively small production team of four over a two-week period. We started with the idea of creating more literal, figurative architectural spaces. For example, one scene is an interpretation of Ponte City, a residential tower in South Africa. That’s the kind of space we’re interested in, and it lent itself geometrically to modelling a version of it. As the project went on, we also developed more form-based and abstract spaces that lent themselves to the installation just as well.

The transition between spaces was the most creative challenge – how do you move from one space to another? But when we designed it, everything came back to the core concept of unwrapping or un-peeling.

The design of the animation varied, either focusing the viewer’s attention on one area or surrounding them as it wrapped around. We just wanted to test different scenarios. For example, there is a slightly origami-esque segment, which unfolds from one point and then wraps around the back of the dome; or a square-indented one that rotates around the viewer. It makes the viewer curious to look around and see what else is happening.

All the animations are done in 3D using standard animation techniques. Our main render engine is V-Ray: it’s equipped with a dome camera that will render in a circular distorted format which is directly appropriated for these dome projections. So the V-Ray physical dome camera drove what we were doing technically. All the camera work is static – it’s very much about taking the viewer through the space, through the architecture of the visual bounds of what they see.



COnCLUsiOnJonathan Gales

Because it’s possible to view a fully immersive environment like this from almost any perspective, it removes cinematographic conventions. I’m a sucker for low-depth-of-field cinematography – that stylistic kind of cinematography that embodies movement or a human, hand-held feeling. We’ve used that a lot in our animation and visual effects work, putting 3D and impossible things into footage that moves like a person – people understand the conventions of documentary, and most importantly it feels real.

With this project you can’t have any of that – it’s gone. So you’re really just thinking about space and how you feel in that space, what the light would be doing in that space and so on.

It’s become a stimulus for trying to do other works that are along the same vein – and this project has opened up several different leads which we are going to develop. From a spatial design background, it will be very interesting. Maybe once the conventions have been more established around what 360 film is, we will then go through a period of breaking those conventions, establishing different genres of 360 or dome films.

emBr ACe The ‘ wrOng ’ wAY

Find out what the conventions for this format are for yourself. Don’t trust what other people say, because sometimes when you break accepted conventions or do things in the ‘wrong’ way, they go on to turn out really well.

Le T PAssiOn Be YOUr gUiDe

Follow your own drive and passion. until now, all the virtual reality content was driven by events or actions – almost in a game-based way. but for us, space is our passion, so that allowed us to create something that was unique in that field.

COnsiDer shOT LengTh

in editing for 360 films there is definitely a consideration for how long shots are. We are accustomed to jumping through time and cutting between shots in cinema, but that completely disorientates the viewer in an immersive setting.

LessOnsLeArneDwhat the project taught factory fifteen about immersive projection

some scenes used origami effects

many of the spaces created were abstract the transitions between spaces was the biggest challenge

the team experimented with light-temperature contrast

Factory Fifteen got the opportunity to experiment for 360 film projection as part of the sat symposium in montreal

INSPIRINGCG ARTISTS

FREE! 5GB OF RESOURCES: VIDEOS, MODELS, TEXTURES & MORE!

ISSUE 199ON SALE

NOW!

Newsstand for iOS: www.bit.ly/3dworld-appPrint: www.myfavouritemagazines.co.uk/3dwsubs

MATTE PAINTINGSTAR WARS

Pro training to recreatean Episode VII scene

THE RISE OF

HOW TV’S GREATEST VFX ARE CREATED…• THE FLASH • GAME OF THRONES • CONSTANTINE • WALKING DEAD

THE RISE OFPLUS!

MODELLING

CONTINUUM’S

TIME MARINE

S e p t e m b e r 2 0 1 5N e e d t o k N o w


Get on top of your cashflowFrom workflow and time management tools to quotes and invoicing apps, there’s a wealth of utilities out there to help you get on top of your creative project budgeting

creative agencies pride themselves on their work but there’s more to running a

successful studio than the design itself. the nitty gritty of studio and project management is a necessary evil, and although nobody became a designer because they loved chasing invoices, no business will survive (let alone thrive) without taking its cashflow seriously.

The good news is that there’s a raft of studio management tools out there to help you keep on top of workflow, time management, quotes and invoicing, many of which integrate with existing programs like email, calendars and accounting software like Xero or MYOB. The bad news is that there are so many to choose from, and on first glance so many similarities between the options (even the websites look largely the same), that it can feel overwhelming.

Andy Brattle runs Beyond, a branding and creative agency that employs 10

people across its studios in Maidenhead and London. In the early days the agency used self-created systems to manage the administrative side of the business, but as it grew something more formal was needed. Beyond worked with TrafficLive for a few years before switching to Streamtime, a popular, integrated studio management tool from New Zealand that was developed very specifically for creative agencies (rather than some programs that are aimed at all types of small business).

“Streamtime is the hub of our projects’ operational processes,” Brattle explains. “Because it’s geared around agencies there aren’t many things they’ve missed out – it’s fairly comprehensive.”

He likes the fact that Streamtime’s developers understand the particular ways design jobs work. So for example it easily allows Brattle and his team to attach third-party costs to quotes for clients, because they know agencies

need to know

equip yourself and your studio with these financial tools and you’ll have no problems when it comes to balancing the books

often outsource elements like print production or copywriting.

But as well as specific features, Streamtime allows Beyond to streamline the day-to-day business and keep on top of its finances. “We need to have a system that groups everything together, both internal and external, as well as costs and time against a single job. Streamtime automates all of that for you and it’s a big win,” Brattle says.

For Adam Kensington, Streamtime’s UK/Europe team leader, it’s this ability to simplify studio admin that is the tool’s biggest strength. “Streamtime is designed to ensure that agencies spend more time doing what they’re best at – being creative – and less time managing their business,” he explains. “We constantly look to our design community to help us build and develop our product in line with their changing needs.”

A major concern for Beyond when moving away from the in-house designed

s e p t e m b e r 2 0 1 5 D I G I TA L I L L U S T R AT I O N T O O L S


Best money manaGement tools

Billings ProGood for agencies that want a specific app for their financial affairs to work alongside other studio management tools. very apple friendly (they make a big play of it working with the apple Watch) and good value at £6.50 per user per month or £63 for the year. www.marketcircle.com/billingspro

streamtimeDeveloped with New Zealand’s q brand agency, streamtime is very focused on providing software that works in the specific context of the design world (i.e. “timesheets creatives will actually use”.) Not cheap at £29 per team member per month, but it’s comprehensive and customer support is good. www.streamtime.net

Freeagentaimed at small businesses of all types rather than at creative agencies specifically, Freeagent is a serious option for complex organisations with very financially-focused objectives. it offers different price points (£29 a month for a limited company, down to £19 a month for a sole trader) and you can have unlimited users on an account. its clear dashboard offers features such as a live profit and loss tracker, and you can manage your tax affairs through it as well. www.freeagent.com

studioCloudanother good generalist option (its client list includes wedding photographers, tattoo artists and massage therapists alongside design studios). it’s free for one user, climbing to £22 a month for two users and £41 for three or more. there’s a huge number of features including a few unusual ones such as in-built e-signature software and help creating targeted marketing campaigns. www.studiocloud.com

Hiveagelaunched in 2014 as the successor to curdbee, Hiveage is good for studios that have very specific requirements, as from £4.50 a month you can pick and choose the features that are most relevant. prices are steeper for the unlimited packages (£192 a year for five users and £320 for 10) so the create-your-own option is tempting. www.hiveage.com

the market for operational and financial software is thriving: here are five of the most popular apps

templates was to find a platform that gave them the control they craved over the look and feel of the documents it generates. “We wouldn’t be practising what we’re preaching if we weren’t looking at it across all touchpoints,” says Brattle. “It was definitely a key consideration for us, because it allowed us to continue presenting ourselves in a way that we felt was truly representative.”

Another big consideration for agencies is cost, and just as the services offered on different software varies, so do the price points. Streamtime is one of a number of platforms around the £20 to £30 per user per month mark (along with StudioCloud, Briefcase and FreeAgent).

As with any outlay for the studio, it’s vital to think about what your business really needs. For bigger agencies with multiple jobs on at the same time, bringing together the studio’s activities using Streamtime or FreeAgent may be very useful. But at smaller agencies this may be overkill, introducing layers of admin that get in the way of creatives doing their jobs. Here a more dedicated

invoicing tool like Billings Pro could be as far as you need to go.

Billings Pro is a popular time tracking and invoicing app and starts at around £6.50 per user per month but it is usually used in conjunction with other programs. Singapore-based studio Foreign Policy uses Billings, alongside Harvest, Basecamp and Slack, and such a proliferation is common. Foreign Policy’s Arthur Chin admits financial matters “suck up a lot of resources and time” but he likes being able to customise invoices on Billings and use its intuitive interface.

But Chin is still on the hunt for a program that goes further. “The best possible invoicing tool should be one that allows online payment. That way, once a payment has been made electronically, we get a ping. That would help simplify the process enormously.”

For creative directors who run studios, being able to track how much time employees are spending on specific projects and keeping on top of cashflow is obviously extremely useful, but there can be a tension between these very practical demands of studio management

and the creative culture that design agencies naturually thrive on.

Carl-Johan Lindqvist is the co-founder of Lundgren + Lindqvist which employs four people in its studio in Gothenburg, Sweden. Lindqvist sees sound financial management as intrinsically linked to the agency’s creative productivity. “However tempting it may be to spend all our time on the creative work, we believe that any company that does not keep track of its cashflow will face serious troubles sooner rather than later. It is not our favourite part of the job, but making sure we maintain a healthy balance in our books is one of the things that give us the ease of mind we need to do what we believe to be great work.”

But Lindqvist admits that asking people to constantly log their hours can sometimes jar in a creative environment. He uses Flow to help bring together different aspects of different projects, but he doesn’t want to limit his designers.

“It can be crippling to keep too steady a check of time. Looking back at a project, we sometimes realise that we have spent

a daunting amount of extra time on it, however the extra time spent on one project will often pay off somehow down the line. We might learn something that helps us in another project, and the extra effort often makes the project better, resulting in more new work.”

It seems that no studio management tool is perfect and a lot of designers are ready to voice frustration with their quirks and limitations, as well as being forced to juggle multiple programs to get the right mix of services. Of course, there is one other solution. “There’s too much duplication across tools and there are also integrations that we would love to have with the services we use (automatically showing people’s holidays on the project planner, for instance),” says James Chambers, co-founder of London-based Animade. “The only way to get these features is to build something custom – we’re lucky to be in the position to be able to do this in house, so we’re giving it a shot.”

Next month: How to avoid the most common legal pitfalls for designers.

“The besT possible invoicing Tool should be one ThaT allows online paymenT. ThaT way, once a paymenT has been made elecTronically, we geT a ping. ThaT would help simplify The process”

S e p t e m b e r 2 0 1 5N e e d t o k N o w


5 InvoIce tIps

1 get into the habitinvoicing for your work is the least

glamorous part of running a creative studio but it goes without saying that it’s crucial. particularly if you’re new to owning your own business, it’s tempting to get distracted by the myriad more exciting things on your to-do list, but it’s important to make time for financial matters and to approach them professionally. try and get into a habit of putting a dedicated couple of hours aside for cashflow each week, and be strict about sticking to it.

2 Communicate expectationsa lot of problems that arise with payments

can be avoided by having frank discussions with clients or suppliers at an early stage. if everyone understands how the payments will be invoiced and how soon they are expected to be paid, then nasty surprises later down the line are much less likely.

3 Practise practical style as a creative business it’s important your

stationery (including invoices) reflects your design values and your brand’s aesthetic. that said, the most important thing is that your invoices are clear – there’s no evidence that says great-looking invoices get paid any quicker, so don’t fret over it too much.

4 Chase late payments chasing overdue payments is never a fun

task, but it is an essential one, so don’t put it off. be polite, be prompt and be to-the-point; dancing around the issue will get you nowhere, but that doesn’t mean you have to be insulting or offensive. pick up the phone if possible – it’s much easier to ignore an email.

5 maintain respect if you run a small or mid-sized design

agency then it’s likely you’ll be invoicing clients for work and receiving invoices from suppliers. Good invoice karma depends on you treating others as you expect to be treated. everyone is busy but financial affairs can’t be overlooked, and a bad reputation spreads quickly – and sticks.

Don’t expect to get paid by your clients if you don’t follow these invoicing rules of best practice


80 WAYS TO IMPROVE YOUR

BRANDINGSharpen your persuasion skills and pitch more

convincingly to even the most skeptical of clients

INDU S T R Y I S S UE S

Plus: inspiring work, current issues and expert analysis from the global design scene

NEXT MONTH

ON SALE 18 SEPT

NB Studio reveals its process in the next in our series of walkthroughs from CA’s UK Studio Rankings top 30

E X CL U S I V E V IDE O


when Magnus and I got our first paid jobs in design we had no experience to fall back on that could help us figure

out how to set our value and price for our services. We were students with plans of chilling over the summer, so when we got the request we only wanted pocket money. It was an employment company who wanted a new identity, stationery and website.

We decided to set the value of the job to what we needed to drink beer and have fun over the summer: £750 each. But after a bit of a re-think we came to the conclusion that we had no fucking clue about our own value. Was £1,500 too much? We decided to take a chance and double it.

The next day we got the reply: “Three thousand pounds – are you out of your mind? Just kidding, the money will be transferred today.” We got super happy since we had just doubled our budgets for fun over the holidays. Today, we realise how little it was. During our years we have kept growing our fee. It’s legit! We get more and more experience the more we work. But also you realise that you need to pay all the bills as well as everyone’s pay cheque.

A tip is to set your hourly rate very high and then go down in amount of hours. Why? Simple: because no one wants to pay ‘more’ per hour all of a sudden, and yet most will be prepared to pay more for a project that takes more hours to complete. So let’s say you start with a rate of £75 per hour. The client might say that it’s very high, but then you fib and lie, and say that it will only take you about four hours to complete the work. The next time they want work done, you simply say it will take more time and there you have it.

There’s something called pricing psychology. The shortened version of this is that clients regard price after quality and relationship. So if someone says they got a cheaper price from someone else, just reply: “Okay! Then I recommend you go with them. I don’t know how they manage this, because we can’t possibly offer you that level of quality for that price, and keep our promise and deliver satisfaction.” Almost every time the client will end up choosing you over the cheaper competitor.

Life is not about money, and don’t forget it. To go to a hobby, or jobby (new cool slang for having a job that’s super fun) everyday is worth more than any money can buy. Unless you are so rich that you can do your hobby every day, that is.

S N A S K O F F !Snaskified is a recurring column by Snask, the internationally renowned creative agency, that strives to challenge the industry by doing things differently. They worship unconventional ideas, charming smiles and real emotions, and see the old conservative world as extremely tedious and as the world’s biggest enemy.

Fredrik Öst www.snask.com

Anti-design without a cause

Anti-design can be great, but when it’s made without a cause it only smells of laziness or a lack of skills. “My design is supposed to look like I made it in one minute.” But apparently you did, and for

what cause? At least have a manifesto behind it!

Q: Do you get a lot of work applications?

A: Yes, we do. Sometimes our clients apply for employment

as well. We feel there’s a strong urge to live similar lives as we do at Snask, and that there

must be plenty of other studios with a similar mindset!

Swedish festivals

Swedish festivals are starting to become epic. This year,

two forest festivals have been great. One is Skankaloss and

the other one is Into The Valley. See you there next year!

It’s summer time

Don’t live your everyday life just to have vacation a few weeks per

year. Make sure you lead a life where your weekdays are also something to look forward to.

EnEmy of thE month

GoSSIp Q&A

CAnDythumbS up!

fIlth thumbS Down!

Celloglas is the UK’s leading specialist in decorative print finishing. Decorative print finishes can beused to deliver innovation and added value, increase user interaction, demonstrate brand categoryleadership, enhance sensory experience and even stimulate debate in social media circles.

Publishing / Packaging / Multimedia / Promotional / Greetings

Ask us about:

Silkscreen applicationsGloss UV / Matt UV / Tinted UVTextured / CellotexWater based varnishPealescent VarnishesRe-moist GummingFragrance burst / scratch and sniffThermochromic Ink / Rub and RevealPhotochromic / Light reactiveFluorescent Inks / Glow in the darkSilver and gold latex / Rub and removeHi-build UVGlitter varnish

Call or go to www.celloglas.co.uk to order your sample pack of finishes

Contact - Reading: 0118 930 3003 / Leicester: 0116 263 1010 / Leeds: 0113 271 [email protected] / www.celloglas.co.uk

High Speed coatings NewGloss and Matt varnish combinationsTextured varnishFragrance burst / scratch and sniffPearlescent varnishesVelvet varnish - NewAnd many more…LaminationCellotouch - Soft-to-touchCellogreen - Recyclable and biodegradableGloss / Matt / Anti scuff / silk / linen / holographicCellolux - Luxury laminationFoil BlockingMetallics / Pigment foils / Holographics / Security foils / Textured foils

Ask aboutMirri - A division of Celloglaswww.mirri.co.ukA world leadingbrand of metallic paperand board

SUBSCRiBe TODAY AND SAVe UP TO 59%

Get print, digital or both at bit.ly/casubsTRY OUR AW

ARD-WiNNiNG iPAD eDiTiON

Start your 30-day trial at bit.ly/CA-iPadDiGiTAL BACK iSSUeS AVAiLABLe See page 72 for full details

9000

Documents

Ky thuat may tinh