Morag (Massive-Type) Myerscough

I'd seen some of Morag's work just last year, this...

playful poster caught my eye and I'd been looking forward to her talk since it was announced last week.

The talk was great, it was fantastic to see such bold, colourful and playful design solutions that considered materials and sustainability to shape the executions. To see a designer who thinks like an architect, actually design in 3 dimensions. Even building her own models over 3D digital visualization.
Morag is so dedicated to her work (the fact that her living room is actually her studio) is inspiring and nerve wrecking at the same time. Could i ever imagine myself to be that committed? Well I guess Morag has a more exciting and creatively unrestrained career compared to many other designers. The projects which see works on are interesting and I would say they'd be the opposite of corporate design.

Morags palette and use of colour has clearly been inspired by the work of her artist mother, really loved her use of bright complementary and clashing colours. Layering of patterns and range of playful fonts.

I enjoyed seeing the studio in which she works. How a first stage presentation may appear to her clients, covering the walls in developing ideas.

"Scale is a really important thing." Massive Type.
Type bigger than I think I've ever seen, all I can say is it's a good job she get's it right!


The Westminster Academy redesign really stood out for me as it was a tough job to do. Through the design the children now respect the building and the property of the school. Design which reduces vandalism, now you don't see that everyday.

I really think Morag has a penchant for reflective surfaces, she's used this to create illusions of space and light and to make exhibition stands appear as if they're floating on air.

I have nothing to say and I'm saying it - Alan Fletcher preview

The Alan Fletcher exhibition preview was opened by his friend Peter Saville last Thursday, It was my first time at The Cube Gallery and I thought it was a really good exhibition space, the exhibition was nicely curated and the work was arranged well. Some of my favorite pieces I snapped below. There was such a variety of work on show and all of it was equally impressive from his letterhead and identity designs (of which Fire&Burn stood out.) to his posters and his books. I really like the V&A logo design which was developed by Fletcher.









Maria and I managed to have a little chat with Mr. Saville, it was strange that we couldn't really think of much we just wanted to see what he was like. We chatted about his work and how he moved from Music to Fashion, and how he feels really relaxed coming up to Manchester. I guess like Johhny Hardstaff he's never really had to 'apply for any jobs or prove himself, so when asking him if he had any advice for current design students he basically replied - find what you love and do it.... damm if only life was that simple.

hmmm....little bit of market research?

This evening I agreed to be part of a market research group, conducting research on behalf of the Open-Eye Gallery in Liverpool as it is moving from its current location to the Dock's close to the Tate.....did I mention I got paid for it?


Ten of us met at Cornerhouse (the group included a painter, someone who worked within advertising, an English graduate and a temp worker.) An independent researcher was holding the meeting and she got us to talk about our experiences of visiting exhibitions and museums. What would we look for, what would appeal to us, we discussed our thoughts about Liverpool and about the different art practices. We dabbled in a little profiling of what we imagined the guests would be like at a dinner party (guests included mr. photographer, ms sculpture etc.) what stereotypes do we place on these professions?
The discussion was really interesting and we talked about how work should be presented in galleries, and how to make galleries accessible? How important is the work and how a good background and context should support and enhance the artistic and aesthetic elements of an exhibition. I think a few of the people went to carry on the conversation (carry on drinking) as we were all very passionate about our feelings towards these experiences. It was interesting to hear about everyone's opinions on what should make a brilliant gallery and exhibition, the popular choices were the following..

- Easy directions/signage/central location
- Close to other galleries or museums
- Good coffee - was a big one/some sort of refreshment option
- A sociable area (possible cafe) where we can meet friends
- Close nearby parking or free transfer from city center rail station
- Welcoming staff who are knowledgeable and friendly
- Lots of different things to see and not just one exhibition
- Warm and comfortable surroundings
- A sense that we are not doing what every tourist is doing, possible provide local
insider knowledge?
- Some representation of local artistic community
- Option to put belongings in safe lockers or bag storage
- At least one free exhibition, or something extra added into admission price
(e.g.free coffee)
- Access to archives before/during/after exhibition
- A chance to offer our feedback/vote for pieces of work

We also discussed to what extent we all appreciated an interactive element to an exhibition. I said yes I believe it is very important to engage another sense than my sight even if it is just touch or sound, atmosphere or lighting. The others as a whole had not had positive experiences of past 'interactive' exhibitions and therefore were against the idea, or not using it just for the sake of it.

Helen Murgatryod - Drawing and Printmaking

I remember seeing Helen's work way back in first year - in particular the mapping work she did for the graduate show. I really liked her illustrative style and the concept of mapping a house or a process such as food preparation. It was nice to see a graduate from our course taking a different route after finishing in Manchester. She really enjoyed working in her own style and was confident in pursuing what she loves despite not knowing where it may take her.
Her current work and investigations into creating print making devices or machines is really interesting and the work she has produced is quite unique.
I empathized with Helen because I have recently been unsuccessful with some graduate applications and being rejected by a place you really want to go to is quite hard. She now see's her first rejected application to the RCA as a "Blessing in disguise" and you really have to give the decision some perspective - It can all work out in the end.
I wish her all the best I think she'll be really successful.

Hamish Muir - Trying to murder Helvetica

I look forward to seeing the range of work from all our visiting lecturers. Hamish's was really different and the path which his career has taken him is very interesting too. Its understandable to hear that some designers have some sort of early onset OCD - I wonder if these early traits help develop our visual language for the future? Originally he planned to pursue a career in science - but this did not work for him. As a result of studying Graphic Design in Bath and then furthering his studies at the Basel School of Design, Muir came into contact with some of the best designers in the business.


ARMIN HOFFMAN











WOLFGANG WEINGART



































KURT HAUERT

and the type designer ANDRE GURTLER. (Haas Unica, Basilia, eqyptian 505...)
I think we are all familiar with the experience of seeing a piece of work that looks 'out of this world' and for Muir this was the work of Wolfgang Weingart in particularly. Some of Hamish's early work didn't really appeal to me, but I can understand that 8VO had a style. I would have preferred to see some photographs of the posters which used fluorescent or metallic inks. I think the entire feel for something like that is lost in a digital presentation. Because I thought some of the colours were quite garish - but these colours may not be the same as the ones of the printed material.


You could really sense a difference as 8VO's work began to develop. The work for the Boymans Van Beuningen Museum was much more refined and simplified. I really liked this style of work.




Out of all the work 8VO did for Factory Records, this poster was probably the one I thought worked the best. I could imagine the silver, metallic ink and imagined it would look really effective. His idea for a poster that would fade of react to water is really itneresting but facing realities "water soluble ink - not a good idea in Manchester."



Seeing examples of how 8VO worked with their collage techniques and building layers, constantly changing the images physically has inspired me to get out of my sketchbook and yes...onto the floor. Whilst developing my ideas for the Resistance poster I'm experimenting using shapes and layering these. You really do loose your focus when staring at a blank sheet in Illustrator. The fact that 8VO's collage fell off the wall because the weight of all the layered papers caused it to become too heavy, that's true development. Seeing their way of photographing through layers reminded me of multi-plane animation - which I guess it is in a way.

Click here for Hamish's website

Spoken in Yorkshire - Craig Oldham 12 in 12

I think we were all really inspired by Craigs talk. What made it really different to some of the other guest lecturers was that he was 'relateable'. Perhaps it's just because hes closer to our age and has had similar experiences to us.

"Rules can be broken but never ignored"

I thought Craigs theories on logical and rational v emotional was very intriguing - and once you get your head around it you can almost draw a faint line to divide different work. I'm not sure you could label different agencies into the two groups as I think it really depends on the client/brand - do they require a logical or emotional approach?
I liked Craig's idea that you should really trust your instincts - a contradiction to what we've all been taught, basically that your first idea's are useless.

"If you don't fail then you're not trying" (my new motto?)

The paper he handed out was almost a duplicate of his presentation but the sarcastic language he uses in the paper and on his blog really put his work into a different context. Using a bit of wit and humor Craig is modest about his work. I like to playful attitude to his design work some of my favorite bits are shown below.







Finally I just noticed on the bottom of his blog he writes...

- No pinching. Unless I say "Oh go on then, just this once." 2009© - brilliant!

THE MOST MISERBALE DAY EVER..yet productive

So battling all possible elements wind, rain, cold AND getting lost I finally made it to the TATE in Liverpool. I went over for the D&AD Presidents Lecture - a conversation between Creative Reviews editor Patrick Burgoyne and Michael Wolff.



After a while of wandering I found the Tate - I was much more impressed with the building opposite The Museum of Liverpool! Beautiful even in the rain. I wasn't really impressed by 'Mark Rothko's Seagram murals.' I understood the mood they imposed it was sombre and dark the canvases were the perfect size. However I didn't believe they had any particular quality to them in terms of painting.



Upstairs in the 'DLA Piper series: This is Sculpture' it was much more interesting. A vast variety of works were displayed and I will mention the ones that stood out for me. Jeff Koon's 'Three ball total equilibrium' The Tate had some videos of school children debating the pieces, this being one of them.


Is it really art? I enjoyed Dali's Autumnal cannibalism. It took me a few seconds to take in the image but I was right in there investigating the brush skills the texture of the paint on the canvas, it was compelling.

On the way down I came across this amazing building changing colour, pretty spectacular although no idea what the building was.



As part of the Liverpool Design Festival D&AD had one put on a Presidents Lecture. This conversation between Patrick and Michael was fascinating and totally inspiring. Michael began by telling us "This is not a lecture" "Don't expect answers from me, Don't expect me to be right" Because as soon as you admit you are right and believe you are right - you loose any curiosity and inquisitiveness (attributes all creative thinkers should have.)


Michael's talk was refreshing his thinking simple and radical, rational and risky. When looking for a colour he old us not to head for the pantone book - but to head to the park.

He discussed our cultures structured agreement systems. How awards constrict the Design world. Because we only end up seeing or knowing a great deal about very little. We are told what is good design and shown what that is supposed to look like. Michael quickly explained that boldness can easily transform into arrogance.

When asked how he deals with suits. The example of the policeman was used. In the case of a policeman you shouldn't deal to the uniform you should deal with the human being. As with the Marketing Director you deal with the human and not the job title. Appeal to the human when you are presenting or pitching. Explain the idea don't show it. If you cannot explain the idea using no visuals then you have a good pitch.
"You don't hire the portfolio - you hire the human" a common misconception for graduates when showing their portfolios. Michael backed this up by illustrating Graphic Design as the handle on a suitcase - It must be able to carry the message and its weight.

Meeting the Media

On Thursday evening we went to see MFN's 'Meet the Media: Conde Nast Special' at Malmaison. The pannel included the online Editors of Vogue, Glamour and GQ. The event was really interesting and we were able to ask the pannel some questions. They talked about managing online content, trends for the future, driving traffic, how to grab an editors attention or gain publicity, and the flexibility and the challenges of the online medium in comparison to the printed.

I nervously asked the pannel what the future held for their websites in terms of how people are changing the way the use and access the internet. How their content would have to adapt? Dolly (Vogue.com) talked about trying to keep Vogue exclusive and yet involved. Too much coverage and you loose quality. They didn't want to Vogue to be a big hit on twitter, they wanted the latest news, the exclusive reports. Natasha (Glamour) talked about the power of the celebrity and Jamie (GQ) had mentioned how GQ had put a moving cover/video of Sienna Miller online. Or having exclusive behind the scenes material only available on the magazines websites.
The Editors talked about their journeys to becoming online Editors how they all gained their positions by contacting the right people and through work experience.

The audience included journalists, PR agents, Designers, students and creatives. The talk was really interesting and informative about managing online content and managing a 'brand'. I thought it was really interesting when Dolly was asked whether she would ever swap her online editor position for editor of the magazine......She was quick to explain the attention, focus and pressure of that position and confessed she was a bit of a control freak and that's why the online medium worked for her.

"Homeless people are a bit like ads........no-one wants to listen to them"

On Monday, I went to a talk by DDB. I love all the work DDB produces and what the company is all about. They talked a lot about what is involved in account planning and account management. I don't think many people know the difference!

They talked about how DDB is structured as one of the biggest design agencies in the world. What DDB Health, OMD, Interbrand, DDB Grapevine, DDB Touch, DDB Matrix, DDB Tribal, DDB Unheard voices, DDB Signbank all do, wow so many effective advertising in the world. It was an amazing, insightful talk. They showed recent work that they'd done such as the major relaunch of Monopoly (City Streets) combining Google maps to involve their audience on a global scale. If you don't know DDB UK some of their clients are VW, KwikFit, Tropicana, Budweiser, Lurpak, Match.com, Phillips and Johnson & Johnson.

He who reserves the right to make string bananas

***JOHNNY HARDSTAFF***

I've felt quite inspired by Johnny in the last few days. I found it fascinating hearing about the type of briefs he receives and how he really pushes the limits of these - but I guess this is why he is approaches by companies. I love how he has created a role for himself, he is both Designer and Director.



After seeing ROLLERBALL I could see exactly why Johnny had chosen it. There were moments where I felt the film lost its direction. I didn't really understand how the women were being used in the film. I know for certain that I have benefited from seeing it. It made me think of social order and control and I liked the stylized look of the film 70's meets Futuristic. Johnny's work incorporates lots of futuristic ship-like structures, I could see some reminiscence of the film in his work.

I think because he is interested in politics, Imperialism, English heritage and culture this really gives his work an edge. These issues inform his design practice and without the conflict he feels for and against the corporate world I don't think his design would take the same direction.

KesselKramer EXPORTS

KK (Amsterdam and London) were flown over to Sydney to put on a poster exhibition of their adverts. 'KesselKramer Exports' was on at the Carriage works - an amazing venue, a transformed rail works warehouse which is now a listed building. There was a lecture given by two guys from KK one from the London branch and one from Amsterdam. I don't know if you've tried Googling them but they have a network of 'false' websites built to filter their clientele. If you click on the right link you will be shown some of their work....it really is like trying to find a needle in a haystack!

Their work is incredible and it was fascinating to see the work environment. Their offices have such a playful feel it really comes through in their work.

Their big clients are Diesel, Bavaria, Absolut Vodka. Their not so well-known clients include the infamous Hans Brinker budget hotel in Amsterdam and working for the City Council to produce the I AMsterdam identity.



If you look at anything look at the work they've done for Hans Brinker. The were approached because all the guests were complaining....So KK decided to lower their expectations so much through advertising that no-one complains! Genius!!

Generation Slashie

I've just been to a talk about 'Generation Slashie'. As part of VIVID/Creative Sydney.
A 'Slashie' being a creative who works across several disciplines. The speakers consisted of four creative leaders who worked in graphic design, photography, festival orgainising, Dj-ing, advertising, Theater, Music and more!
The panel discussed the global financial crisis and its advantages/disadvantages and opportunities for creatives, juggling workloads, the divide between paid/volunteer work and how important it is to continue whatever your passionate about. It was also a great networking opportunity.
The topic of blogging did come up and what was said was not positive! it was said to be distracting and can lead to wasting valuable time. Oh and also that its ruining the freelance journalism sector.

Heres a photo of what the Opera House looks like lit up

Sydney-Siding

Can't believe I've been living and studying in Sydney for four months now seems like forever. The course is finishing in about two weeks and we're already into work for 3rd year D+AD! Im getting used to blogging now - here at UTS they get you doing a weekly blog for most subjects even in different faculties, I do think all blogging does eventually turn into PROCRASTINATION!! don't try and hide the fact your on facebook at the same time! .....willpower!

There's always loads of new Art and Design stuff going on and you may have seen up on the news that there is a huge festival called Creative Sydney which began today. (They projected animations onto the Opera House) Its broken into music, light and art mainly. I've signed up to go to lots of talks and networking evenings where leading creatives and students/professionals mix and discuss things such as pitching, copyright, the demand for new multi-disciplinary creatives, new creative networks and more! you should check it out....





http://creativesydney.com.au/