Berlin - Anthony Burrill Exhibition at Ace & Tate

Ace & Tate is an eyewear brand selling optical glasses and sunglasses with the belief that people should be able to change their look whenever they want - but acknowledge that glasses can be expensive. This is why the brand encourages exploration of different looks and styles in regard to spectacles, but at a fair and affordable price. The brand's name is derived from cellulose acetate, which the majority of their glasses are made from. 

Instead of stocking other designers' glasses, instead their concept is to design the glasses and have them manufactured using high-quality materials in-house. The in-house design team is in Amsterdam, where all Ace & Tate glasses are produced. They believe in high-quality, high standard, well-made craftsmanship of their glasses. Lenses are also of hight quality, with their standard prescription glasses having anti-reflective, anti-scratch and UV protection coating to protect the lenses and eyes of those who wear them.

In collaboration with UK-based graphic designer Anthony Burrill, Ace & Tate produced a series of statement prints which encourage people to switch-off and live in the now. Not only the messages in the prints, but the printing technique itself - a slow, and mindful process - reflects a pre-digital, offline state of mind. These prints were exhibited in the Berlin store.

Anthony Burrill is acclaimed for letterpress work, avoiding the use of cliché phrases and keeping the text short as to give the designs more impact. Anthony's inspirations come from everyday life, talking to people and his daily experiences. His work often features mantras to live by, such as his most famous piece 'Work Hard and Be Nice to People.'

The opportunity to see the work of Anthony Burrill was one I didn't want to miss out on. Although there were a limited number of prints in the store, it was great to see his works in person for the first time having admired them online for some time. The large scale typographic designs are appealing to me in their simplicity, and I often find myself wishing to make my own - which the exhibition has inspired me to consider in my future practice.

An interview with Ace & Tate and Anthony Burrill can be found here:

https://blog.aceandtate.com/ace-tate-meets-anthony-burrill/

Berlin - Hamburger Bahnhof

Hamburger Bahnhof is the former terminal of the Berlin–Hamburg Railway in Berlin, Germany. Today it serves as a contemporary art museum, the Museum für Gegenwart, part of the Berlin National Gallery.

The station was built to Friedrich Neuhaus's plans in 1846-47 as the starting point of the Berlin–Hamburg Railway, and is one of the oldest station buildings in Germany. It is the only surviving terminal building in Berlin from the late neoclassical period, though the building has not been used as a station since 1884, when northbound long distance trains from Berlin began leaving from an alternative terminal.

In the mid-1980s, Berlin entrepreneur Erich Marx offered his private collection of contemporary art to the city, leading the Berlin Senate to establish a museum of contemporary art in the former railway station in 1987. The Prussian Cultural Heritage Foundation agreed to operate the museum as part of the National Gallery. 

A competition for the renovation of the station was announced by the Senate in 1989, and was won by the architect Josef Paul Kleihues. Between 1990 and 1996, Kleihues refurbished the building, and in November 1996 the museum was opened 

The Museum für Gegenwart exhibits modern and contemporary art. Permanent loans from the Marx collection, including works by artists such as Joseph Beuys, Anselm Kiefer, Robert Rauschenberg, and Andy Warhol, are on permanent display. 

Andy Warhol, Do it Yourself (Seascape), 1962

While I was appreciative of the art in the gallery, and found it greatly interesting to see the works of artists such as Andy Warhol in person, I was more captivated by the interior of the gallery - from the ceilings to the windows and exposed structures of the old rail terminal. The space itself felt vast and open, allowing the art to be spread across the gallery walls with fair spacing - allowing you to appreciate each artwork undisturbed by the next. Analysis of space and rooms is becoming part of my mind-set whenever I visit places due to the desire I have to potentially work in interior design and styling.

Visiting Professional - Dan Saul Pilgrim

Dan Saul Pilgrim set up Leeds-based Saul Studio in 2014. The studio specialises in typography, print-based designs, art direction, identity, book design and film projects.

Whilst studying design at the University of Leeds, Dan became friends with Matthew Logan. Both wanted to work with one another and were given a scholarship by through the university careers centre, leading them to set up a studio called 'Logan and Saul.' Money from the scholarship was used to pay for a website and business cards, though shortly afterwards Matthew and Dan parted ways. Dan had also interned for contemporary Australian artist Shaun Gladwell, created music videos for friends, and went on to work with film production company Left Eye Blind who have worked with artists such as the Kaiser Chiefs and Haim. Additionally, Dan collaborated with illustrator Elliot Kruszynski on the 'Yorkshire Boast,' a celebration of things about Yorkshire that people may or may not know.

After parting ways with Logan, Dan started another project. He wanted to join two of his passions - coffee and graphic design. It is worth noting here that Dan loved the photography of Justin Slee after seeing his photographs for the Northern Ballet. Considering this, Dan began work on a visual guide/showcase of coffee shops in the north of England, initially entitled 'Coffee Shop Project.'

The project, proposed to feature the drinks, the people and the places serving coffee in the north, needed funding and therefore Dan set up a Kickstarter crowd-funding initiative. He also set up an Instagram and twitter to 'build hype.' 

Coffee Shop North Timeline

March 2015 - Meet with Justin Slee and have him join the project.

June 2015 - Test shoot at Lanes Coffee Shop, Leeds. Set up of social media for promotion.

August 2015 - Finalised Kickstarter initiative.

September 2015 - Kickstarter initiative went live. Met with G . F Smith.

January 2016 - Shock wave 02. Call for illustration.

March 2016 - 2nd design created.

April 2016 - Met with Pressision. Promo Launch.

May 2016 - Finalised design. Book sent to print. Register publication with ISBN. Launch at Colours May Vary 

June 2016 - Distribution. Increase of Stockists.

June 2016 - Mini launch in Hull.

July 2016 - Mini launch in Newcastle. Nominated for British Book Award 2016.

November 2016 - Book is 'Highly Commended' by the British Book Awards 2016.

Another self-initiated project of Dan's is a photoessay of a fashion with models dressed as each of the 4 Evangelicals entitled Salvation.

In addition to his own projects, Dan/Saul studio has also produced a record sleeve design and tour posters for The Hubbards, flyers and loyalty cards for Colours May Vary, an infographic of the drinks menu at The Bear, a coffee shop in Sheffield, and designs for King St. Social, a members only dining experience.

Advice

• Connect with people on social media, especially Instagram, to find collaboration.

• Your attitude is important to make it work.

• Get yourself in the right position.

• Find people that understand you.

• Collect Graphic Design.

• .Find your niche.

• It's not as pretty as it looks.

• Do/don't move to London.

The work produced by Dan, Coffee Shop North in particular, is hugely inspirational. He sets an example of having belief within a project and seeing it through to the end. It shows how important undertaking personal work alongside professional work is in gaining recognition within the industry and keeping a balance in your creative practice. I would love to produce my own publication in the future, and having seen Dan's success with Coffee Shop North, I would consider doing this in the future. 

Interview with Andrew Cottam of Foilco - Reflection

Earlier today I met with Andrew Cottam, Business development manager of Foilco, at Cafe 164 in Munro House.

As this was my first ever meeting with an industry professional, I was nervous about meeting him and making a good impression. Once there, I became less nervous as Andrew began sharing his perspectives with me and his passion for the company - this putting me at ease.

We discussed all things foil related and the company, as well as and his thoughts on the power of creative print in the industry - this detailing everything from the resurgence in print to his hopes for the future of foilco and the print industry as a whole. 

To see all the foil samples in the D4 selection was awe-inspiring. For a while now I have had a fascination and love for foil, more so than ever now following my meeting with Andrew. I was completely unaware of just how many shades and grades of foil were available, and the effects that can be created via the stamping process. 

Andrew also kindly gave me a Foilco notebook, featuring a bright vibrantly-foiled cover.

Following this, I am excited to re-listen to the recording of the interview and put the discussion in to words for my creative report.

Foilco Interview with Andrew Cottam - Preparation - The Questions

• What does a typical day of work entail for you as Business Development manager of Folico?

• Foilco appears to be leading in the innovation of finishing. What sets Foilco apart from other providers of such products and services?

• How many projects do you typically work on at any given time?

• What is the size of the team at Foilco?

• At Foilco you work closely with your clients. Do you have a diverse range of clients?

• What is your favourite part of the design process?

• How many foils do Foilco offer? Does there seem to be a most popular?

• You have previously worked at G. F. Smith and other speciality paper establishments. Where did your interest in paper/finishing come from or begin?

• Have you always worked in the creative sector?

• What is your first memory of realising you wanted to work within the creative industry?

• Foilco, G. F. Smith and Pressision are a triad of names I often see together. Do you find establishing such collaborative relationships important within the design industry?

• Was there a reason for your move from speciality papers to Foilco and finishing?

• How does it make you feel when you hear expressions such as ‘print is dead?’

• 2016 saw the sales of printed books rise for the first time in four years. Do you think preference for printed matter over digital is making a comeback?

• Do you believe finishing capabilities and potentials, such as foiling, are the reasoning behind the resurgence in the popularity of print?

• Creative print provides opportunity to create work that could never be achieved on screen. Do you think that print will ever cease to exist? Do you think design for screen will ever find a way to challenge the qualities of print?

• What do you believe the future of creative print and finishing looks like? Or should I say what do you hope it looks like? 

• At the end of last year I attended an event on creative potential and talent in the North. What are your thoughts on this?

• What is your personal favourite colour of foil?

OUGD502 - Visiting Professional - Footprint

Footprint are a small ecologically minded co-op printers based in Leeds. It is their ambition to be straightforward, friendly, responsible and responsive.

As a workers co-op, Footprint is owned by the workers, with no bosses, run according to the equal opinions of all those involved. Within a co-op management can be elected or each member can take equal responsibility - the latter being the case for Footprint. Each of the 8 members of workers co-op are directors of the company, meaning decisions are made democratically on a consensual basis.Footprint only produce work which they believe in, and will happily turn away any work which they deem as inappropriate or not in-keeping with their morals and ethos. 

Set up in the 90s by activists who used the printing facility to print posters for protests and demonstrations, Footprint now print booklets, zines, leaflets, stickers, newsletters, fliers, books, CD wallets and more. Today, James and Claire from the printers came in to talk about the co-op and what they do. James studied and graduated at Leeds College of Art in 2010 and has been working at Footprint since 2012.

Originally, the co-op used a Heidelberger press - an offset lithograph, however this was not as efficient and  ethical as they believed they wanted to be perceived. Considering this, they took the opportunity to invest in a Risograph printer. It is this printer that they print 90% of their work on. Risograph printing is in effect a digital screen print. Though typically this only allows for one colour to be printed at a time, Footprint have two drums which allows them to instead print two colours. Risograph printing is much more environmentally friendly as it requires less electricity. Riso ink is made of soya oil and pigment mixed together and the masters plates are made from banana leaf - reducing waste and energy. With their belief in being environmentally friendly, they use 100% post consumer waste/recycled paper and only ship within the UK in attempt to reduce their carbon footprint.

From all profits made, Footprint donate 1% of their turnover to tree companies to give back to the environment, They also offer 10% discount to members of other co-ops, though have an ethos to be affordable for everyone.Regular customers include other co-ops, political campaigners, small companies, artists and self-publishers.They have printed publications for Leeds Zine fair, Leeds No Boarders, Leeds Trans Health, and Black Lives Matter. They produce 'interesting work for nice people.'


They use social media to set events, promote and show the work they have printed and attract customers.

Types of Questions

When considering the interviews to be undertaken with industry professionals, it is important to ask the right questions, and know the different types of questions that can be asked. These include:

• Introducing questions.

• Follow-up questions. 

• Probing questions.

• Direct questions.

• Specifying questions.

• Indirect questions.

• Structuring questions.

• Interpreting questions.

Examples of good potential questions to ask:

• What's the best advice you've ever received?

• Who inspires you and why?

• What's the hardest lesson you have ever learned?

• Describe a life defining moment you have experienced.

• What is your biggest accomplishment to date?

• Do you have a personal motto?

When preparing my own questions, I will consider the above to ensure I get the most out of my interviewees and provide myself with interesting content for my creative report.

OUGD502 - Visiting Professional - Buttercrumble

Buttercrumble, identical twin sisters Abigail and Chloe, are a design duo currently based in Leeds, West Yorkshire. 

The duo, who grew up together in the seaside town of Scarborough, together graduated from the University of Leeds with degrees in Graphic & Communication Design and have since continued supporting and encouraging one another to produce good artwork. They detail their practice as making use of fun and exciting visuals that bring harmony between graphic design and illustration. They are also inspired by mid-century design and illustration, folk illustrations, Scandinavian design, stories and everyday life. 

Having set up Buttercrumble in 2012, Abigail and Chloe are passionate about collaborating with other creative people who believe in the power of good design. Their core values are to smile, make people smile, collaborate, and build foundations. As well as producing their own work and taking commissions, the duo also help other designers with their portfolios, designs, contacts, and exposure to help in preparing them for the design industry. They actively attend talks, visits and workshops to help other creatives or just make themselves known within the industry.

The twin sisters have previously worked on creating volumes 4, 5 and 6 of Independent Leeds magazine, and in 2017, as part of the Indie Food Festival, they showcased their work as part of Exhibition and Design Series. 


Advice from Abigail and Chloe

• Make your own opportunities.
• Collaborate.
• Work with others outside of your own discipline. 
• Join creative forces.
• Personalise, contribute and excite.

Having collaborated in one way or another for the entirety of their lives, Abigail and Chloe have really shown what can be achieved when you join forces and work with others. This is something to consider in the future of my practice and in the upcoming collaborative brief for responsive. The sisters also show the importance of helping others and engaging with like-minded individuals.

OUGD502 - Visiting Professional - Studio 12

Set up in 2002, Studio12 is a digital media initiative that invests in the creative talents of disadvantaged young people, aged 16-30, and living in Leeds. Studio12 strives to provide young people who cannot afford university with a creative process to educate, engage and include young people in producing new work. Accessible to all, it provides free access to a production studio, training, accredited qualifications and an industry panel of creative professionals.

Located in Leeds Central Library and with funding from the European Union Pavilion, the studio educates young people in the production of recording, photography, video, multimedia, music and software training, allowing them to create a new learning experience using new technology and non-digital resources. Funding is also received from partnerships and from work that the young creatives produce and get commissioned for.

In addition to the recording studio, the studio also have a green screen and whitespace for photoshoots and video production. The whole concept of the studio is to enable young people to become producers of new media content and empower young people to further develop their skills.

Calvin Klein - New Logo

On February 3rd 2017, Calvin Klein's new chief creative officer Raf Simons unveiled a new logo for the American fashion brand in collaboration with British graphic design legend Peter Saville.

Saville has worked with the fashion brand’s in-house creative team to tweak and redefine the logo. The fashion brand has swapped out its lowercase logotype of the founder's name for an uppercase one with a smaller kerning gap between letters, retaining its black colour and sans-serif creating a subtle but recognisable difference.

The old logo.

The new logo was unveiled on the brand’s Instagram account, with Calvin Klein saying that the new logo is a 'return to the spirit of the original' having explored a lowercase 'ck' sat above the Calvin Klein logotype and used alongside it previously. It is said to aim to pay homage to the self-named company’s founder, who launched the US company in 1968, and also to the foundations of the fashion house according to the company.

Many consider the altering of the ubiquitous logo, which famously adorns the elastic waistbands of Calvin Klein underwear, to be a divisive move.

Having explored the word marks and logos of the high-end fashion labels for OUGD504 in the Bond Street brand directory, Calvin Klein's decision to change their logo to upper-case strikes me as this follows suit of the majority of other labels in the sector and, until now, was one of few brand using lower-case. Though I don't dislike the new logo, I feel the previous logo had greater distinction in the market.

Approach to Contacting Professionals

Studio brief 02, Creative Presence, requires the identification of an industry practitioner or practice who will be at the centre of a creative report. 

I have identified 3 key industry professionals to contact, these being paper merchant G . F Smith, creative print & finishing experts Pressision, and suppliers of hot stamping foils and decorative films Foilco, all of who are concerned with bespoke print and finishing - these being my practice's primary interests. Although the brief asks for just one creative report to be carried out, I plan to reach out to each of the these industry professionals to gain a more comprehensive insight into each contributor to the field of print and finishing as each party provide something different to the print industry; G . F Smith provide the paper, Foilco the foils, and Pressision the creative printing and finishing itself.

Now identified, I needed to consider my approach in making initial contact. As each of my potential interviewees work in or supply to the sector of print and finishing, I believe it is only appropriate to make contact via a tangible piece of correspondence. This considered, I have decided to write hand-written letters in wax-sealed envelopes which will also include my self-branded business cards and a multi-tone foiled 'Hello' print.

The method of communication is instilled with greater personality, care and impact. Not only is written correspondence more formal, it is also more thoughtful. At times, simply sending an email can seem lazy. Additionally, industry practitioners are inundated with emails on a daily basis and therefore in order to catch their attention, other means of communication may achieve greater results. The multi-tone foiled 'hello' print and wax-sealing of the envelope provide a higher level of finishing and enhance suitability for the target of the communication as a result of relevance to practice and sector.

Envelopes are G . F Smith Sapphire Colorplan, while the hand-written messages are written on Natural Colorplan - these colours being primary features of my self branding which are also relevant to each of the potential interviewees as a result of G . F Smith's contribution to the creative sector.

Once sent I plan to wait two weeks for a response. Should I not receive a response, I will consider alternative contact.

Visiting Professional - Michael C Place of Build

Build Studio

Build is an award-winning creative agency with an international reputation for creating 'strong visual narratives.' The studio utilises art direction and graphic design to create brand identities, websites, packaging and books for clients around the world. Some of these clients include Virgin America, Made.com, Getty Images and Nike, as well as a number of independent businesses, designer-makers, and events.

Practicing graphic design, art direction, image making, moving image, and typography, Build specialise in creating visual communications for 'forward-thinking clients' in the creative sectors.

Michael C Place,  co-founder and creative director of the agency, studied Graphic Design at Newcastle College from 1988–1990. He openly talks about leaving before graduating in order to follow his dream of designing record sleeves, something that stems from his passion for music which has undoubtedly shaped his career in design. Michael notes Iron Maiden, Motorhead, Saxon and Black Sabbath record sleeves as key point of inspiration early in his design journey. Michael's initial career prospects were to be an architect due to his experience with technical drawing, however came to a turning point when his art teacher introduced graphic design to him through a book. After leaving school Michael did an art foundation in Scarborough. He has a strong interest in typography and Letraset, which he collects.

After gaining experience at various studios in London, Michael joined influential graphics studio The Designers Republic in Sheffield, where he worked for 9 years. Whilst there he produced some of the best-known works of the studio that have since earned a place in cultural history due as a result of their influential stature. 

In 2000 Michael met his wife, with who he co-founded Build. They both quit their jobs and took a break from the design world to embark on a 10-month world trip, returning in 2001 to found Build. 

Since founding the agency, Build has moved premises several times. Originally working from a basement flat in Camden, the agency has since worked in Fulham, Clapham, and then Walthamstow where they stayed for 15 years. Following this, Michael and his wife moved back up north to a studio in Leeds (Michael grew up on a Farm in Bedale, North Yorkshire). They now live in Otley, Leeds.

Advice

• Don't be a slave to current trend.
• It's important to keep being excited about design. 
• Outside influences are important, they provide richer work.
• Self-imposed rules are important.
• Work for someone else before you work on your own.
• The business side of design is hard, but you must pay attention to this part of the job.
• Don't specialise in one sector.

All of the advice given by Michael is of great benefit considering the uncertainty working in the industry brings. I too believe it is important to keep being excited by design, and letting it and other passions influence your practice. The only exception being the advice to not specialise in one sector, as I believe if you can do something well, you should become a master of that practice and become the go-to for your specialism.

Film Synopsis Presentation Feedback & Reflection

For the exercise, I chose to present the 1988 film 'Big,' starring Tom Hanks. Below are the slides featured in the presentation with the corresponding notes I prepared to prompt deliverance of vocal information.

The film I chose was the 1998 'Big' starring Tom Hanks.

The film starts with Josh Baskin in line to go on a ride at an amusement park. Directly behind him is a cute girl he knows from school, who strikes up a conversation with him. When he gets to the front, he is smaller than the wooden cutout used to determine whether one is big enough to go on the ride.

Moments later, he puts a coin in a fortune telling machine and is told to make a wish. In the wake of his embarrassment, he, innocently enough, wishes that he were big.

 To his astonishment, when Josh awakes the next morning, his wish has been granted. 

Though still a twelve year old child in every respect but physically, his is longer recognisable to his mother, he must leave home and, once he learns that resolving his problem will take a long time, has no choice but to try to make his own way This means getting a job and mingling in the world of adults. 

As it turns out, the job he gets at a toy manufacturer is perfect for him, as his insight into what toys kids will like greatly impresses senior management, and leads to an executive position.

Josh is attractive to a female executive in is company, Susan Lawrence, and the result is a romantic interlude which, due to his in-experience, he is largely incapable of handling. 

Eventually, he shares his secret with her, but, at first, she doesn't believe him. As she gets a closer and closer look at his behaviour, however, she comes to understand.

Finally, Josh finds the arcade machine that had granted his wish, and wished to have the original wish undone, returning to his mother after weeks away form home.

In the final scene, Josh is again back to his 12 year-old form, physically, after waving goodbye to Susan who takes him back home.

Reflection

Although I had prepared for the presentation, I still felt very anxious about presenting in front of others. When it eventually came to be my time to present, I tried to remain composed and calm whilst delivering the film synopsis and accompanying visuals.

Upon opening the presentation, my first visual was missing - although I didn't let this affect me and simply apologised and moved on. In addition to this someone came into the room during my deliverance however I carried on and ignored the potential distraction.

I then continued to deliver the information without much reference to my notes, and believe despite my nerves, I was able to deliver the presentation with some confidence.

Feedback

The feedback I received was generally positive, however it was said that the presentation was perhaps too long.

The visuals in support of the synopsis were good, visuals which successfully made clear the structure of the film (start, middle, end) - with particular emphasis on the end slides that provided a natural close to the presentation.

It was noticed that despite having notes present, I was able to deliver spoken content appearing natural without being distracted by the paper and allowing it to divert my attention from the audience.

The way I handled the missing slide and entrance of another person during the presentation was received well as it appeared to have no affect on my deliverance.

My deliverance of the presentation was perceived as confident, which I was surprised at considering the nerves I felt during my time at the front.

Additional pointers regarding the presentations given by the group as a whole were to try and avoid showing how many slides you have altogether as this can have negative perceptions from the audience if the number is large as they anticipate a lengthy presentation.