RESEARCH AND ANALYSIS
Intro Design
Adrian Talbot and Julian House have focused their design careers on their specific artistic strengths and passions. They don’t try to be everything to everyone and clients come to them to make use of their unique styles.
These styles are vastly different, which makes for a good business partnership and client offering. Adrian Talbot unashamedly refers to himself as a traditional, minimalist, 2D designer with a preference for the print medium, whereas Julian House immerses himself in the culture, language and world in which a design brief operates in a very contemporary, edgy and artistic manner.
This partnership allows them to allocate clients and briefs according to style with little to no collaboration. “A curious collective of one-man bands”- Adrian Talbot. I do have to wonder whether a sounding board or outside perspective in small measures would yield even more from a job.
With digital design eclipsing traditional 2D design in volume, they have chosen to stay in the traditional graphic design space with a reputation as being more seductive and adapted to this shift by partnering with those who prefer a digital medium. This shows an evolution in thought and forward thinking while still remaining true to one’s design strengths.
Sarah Boris
Sarah Boris design ethos is to create “graphic theatre” through designs reflection of function, aesthetics and communication.
The Graphic Theatre Book is vibrant and inspiring in its simplicity and storytelling.
I was most intrigued by the “happy accidents” concept of playing with design until something accidental and unexpected results in a unique, eye catching piece of work.
It’s a situation all designers can relate to.
She too has noted the rise in digital but instead focused on her strength in typography and publication, creating a market niche for herself.
Regular Practice
The heart felt story of Kristoffer Soelling and Tom Finn’s partnership blooming in college and carrying through into business immediately captures their audience as they set themselves up as a very approachable, down to earth pair.
I found their work process of cohabiting and collaborating with different friends, printers and designers in complete contrast to that of Intro Design. They thrive in this environment and attribute it to their masterful typography creations.
Their honest design culture includes keeping overheads low with shared space, so their energy and passion is focused on projects they are both emotionally and artistically invested in.
They don’t fear change and instead have found the evolution of technology has aided them in created designs quickly, easily and across multiple avenues.
Sam Winston
Sam Winston’s creative environment is designed to be very insular and isolated. He makes use of the intensity, energy and culturally rich atmosphere of London for inspiration and then returns to a quiet, insular studio space to begin creating.
He sees design as an ever moving, evolving, fluid entity rather than something static. This is evident in his working process and collaboration with poets, artists, exhibitionists, partners and investors. He takes the long, hard route of creating his own jobs and is adaptable to the continuous change in scope, strategy and budget. His routine and resolve are unique in this respect.
I am however, most influenced by his noting of the need for budgeting skills. It separates a designer from a boss and can make or break a business.
Fig 2. Winston, n.d.
Someone
I see Simon Manchipp as a design pioneer. His goal is to get people to think in a different way and for branding to tell a bigger story.
The scale at which he works sets him apart from the rest of the design world.
Big ideas, canvas’s, cities in which he operates and clients with the means to make use of and execute his pioneering concepts.
He finds adaptability an integral part of how he designs and often times he needs to slow down so he doesn’t land up ahead of the curve.
His take on the rise of digital is very insightful. He sees designers as the architects and dreamers who create interest and inspire. Those in digital are the engineers with all the data for functionality. Instead of being at war with one another, a combination of both skillsets results in a harmonious creation of uniqueness and efficiency.
Intel Visual Life – Michael Wolff
Michael Wolff, The Expressionist gives off the same energy as a musician in the thralls of compositing a masterpiece.
Fig. 3: Vimeo, 2014.
His insight into packaging ourselves in order to reveal ourselves as who we are or as something we construct, is a revelation. He sees design as wholistic and all-encompassing, through key principals of curiosity, appreciation and imagination.
He approaches branding as a process that helps clients define their self-expression instead of imposing good design on them. People should be moved by design instead of persuaded. They should take, receive, choose and value a brand. It is only in this manner that design is created to be remembered for future reference.
Abstract – Paula Scher
Paula Scher looks at typography as painting with words. She works in a busy, team environment and is always on the move, drawing inspiration from the bustling streets of New York and her journeys by cab. These elements trigger her ideas.
Fame came through her pioneering type treatment of record covers. She was the first to bring type forward and move the image backwards. In doing so, she became a unique graphic design voice for popular culture.
She wants a viewer to get a sense and spirit from type before they actually read it. The combination of these elements creates something spectacular.
Visuelle & Design Everywhere Websites
The Visuelle website is clear, easy to navigate with beautifully laid out content. It is visually striking and entices the viewing to delve deeper into the content.
Design Everywhere by contrast, is busy and crowded which distracts you from the actual content.
WORKSHOP CHALLENGE
Our first task was to design a quadriptych to illustrate the answers to the questions who, what, where and why.
Who are you?
My name is Storm. My career, character and life embody my name.
What is it you do?
I am a packaging designer.
The level of joy and excitement I felt at seeing my first packaging design project on display in a standard South African supermarket was a defining moment in my career. My design was brought to life for friends, family and strangers to see and appreciate. I was so proud I must have bought 10 tubs of Yum-Yum peanut butter that day.
Where am I?
My studio is situated in central Cape Town just below Table Mountain. I’m in the heart of a culturally diverse city, buzzing with energy and creativity, juxtaposed against the tranquility of the forest and mountains. I’m inspired by the sites and visual stimulation of everyday city life and yet the peaceful mountain setting creates a calm environment in which to execute my work.
Why design?
Design is the need to create and it is as essential to me as breathing. I want to deliver theatre on shelf that is visible to people from all walks of life on a daily basis. I see a walk through the grocery store as an exhibition and storytelling journey for others to appreciate.
REFLECTION
Whatever you can do, or dream you can, begin it. Boldness has genius, magic and power in it. Begin now. — Johann Wolfgang von Goethe
This week was a tumultuous situation of being thrown in the deep end. Wolfgang von Goethe’s quote steered me in the direction of this course where everything is new and exciting while at the same time a little daunting. I have, however, learned to embrace being out of my comfort zone as I have found the opportunities in life endless if I welcome them.
I felt a sense of camaraderie, reflecting on the perspectives and experiences of the designers featured in the case studies. Like Sam Winston, I work alone, which can sometimes feel quite insular and have me second-guessing my approach to design and business decisions. The strategies, viewpoints and history of the designers featured in the case studies reassured me through shared experiences and directions going forward.
Reference: Shaughnessy, A. and Brook, T. (2009). Studio Culture: The Secret Life of the Graphic Design Studio. London: Unit Editions.
Reference: Price, J. Yates, D. (2015). Communication Design: Insights from the Creative Industries. London: Bloomsbury.
Reference: Visuelle.co.uk. 2020. Home – Visuelle. [online] Available at: <https://visuelle.co.uk> [Accessed 2 November 2020]. Reference: n.d. Case Studies - Module GDE710 Contemporary Practice.
Figure 1: Wiggett, Storm. Notes Photography. [image] 2 November 2020.
Figure 2: Winston, S., n.d. A Child Of Books. [image] Available at: <https://www.samwinston.com/books/child-of-books> [Accessed 4 December 2020].
Figure 3: Vimeo, 2014. Visual Life: Michael Wolff. [image] Available at: <https://vimeo.com/78630212> [Accessed 2 November 2020]. >