Art Director: Matt Bolton Designer: Matt BoltonEditor: Matt Bolton Writer: Matt Bolton

London College of CommunicationFdA Graphic Deisgn for Communication

What really makes a good designer?whens the best time to break into the industry?what does it take to be a successful designer?

look here.

Theses are the kind of questions young design students raise on a daily basis...so considering Im one of those students I went straight to the big boys to find out what they had to say on the matter.

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Steve Hooper’s 30-year career in adver-tising includes dazzling periods at the most influential advertising agencies in London.

During the time he has been a copywriter and creative director on the world’s leading consumer brands, and pro-duced work, which the industry has recognised as some of the best in the business.

Whilst at BBH during the 1990s he was the first to be ap-pointed deputy Creative Director working alongside John Hegarty, splitting the accounts 50-50. Steve’s career his-tory covers almost ever sector from Auto, media commu-nication, fashion/clothing, alcohol/beverages, retail, food and financial; not to mention awards he’s picked up on the way, from numerous D&AD awards, three campaign gold’s and ‘ad of the year, two gold’s at British television, the ITV award for the ‘best commercial of the year’, four Cannes gold’s and many more.

So... what did this luminary have to say about how the in-dustry is reacting to new talent and how hard it is for new enthusiastic creatives to break into the industry:

Back in 2000 I was hiring people in the industry, and from the hiring perspective of things it seemed pretty hard for young creatives. We with most other agencies offered placements/internships. Placements are very seductive for agencies; as there’s no commitment needed from the em-ployer whatsoever. They can offer however long they want, take valuable time and work from them in return for noth-ing; and at the end of the placement they don’t even need to offer them a job. For interns obviously the experience is hugely valuable, but at the end of the day its slave labour.

Designers/journalist/copywriters/students can be on the intern route for years, before getting offered a job. For a lot of people if you don’t have the backing of a part time job or your family, you are forced into a position where you simply cannot afford to carry on the intern route, and that’s where a lot of people give up. But this is based on what was happening ten/eleven years ago, its not where near as bad as it is now.

In Ogilvy London they have slashed their creative team by almost 50%. And that seems to be a running theme throughout the creative industry. I know of a young cre-ative Amy Holman who’s had an interesting introduction into the industry. She’s in the thick of it all at the moment; I think she graduated a few years ago now. But when she started she did some great ad’s, which won her a D&AD award, and had her a good start. But now she’s started to struggle to find work, which just goes to show how harsh the industry is. It’s very easy to slip off the spectrum, but at the same time, if you have a good idea and deliver it you can get onto to the spectrum again.

When you eventually leave uni, or start trying to break into the industry you have bags of enthusiasm, but very little experience. (Hence why you’re happy to work for free). The more you work for free your enthusiasm de-creases but your experience grows. At some point within your career you hit an equilibrium where your enthusiasm is good and your experience levels are good. This is where good designers come into their own, and where you hope to be one day, because this is where you’ll produce the best work of your time.

blimey...he can remember that far back

OLD BUT STILL KNOWS HIS GAME.

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10sure signs to spot a

creative agency.1 2 3 4 5

OPEN PLAN STUDIO

WHATS YOUR PROCESS?

WORK ON THE WALL IS ALWAYS A GOOD SIGN.

PORTFOLIO.

Get moved around every six months, just helps to keep up a good team spirit and make sure no one feels left out.

If you ask them what your process is and they respond with something like yes well we do this then this then this; then they are wrong. Having a process is formative, routine, and boring.

It means the agency as a whole can visually see whats going on with a project. And lets be honest we are all visual people, thats why we are here.

Agencies portfolios need to engage and interest you, they should have work that you can familiarise with. For example if you are a more digital designer, you know you are sniffing up the wrong tree when you come across a typographic studio. Your portfolio needs to engage them. Dont get bogged down with what the rest of the world is going by. Be UNIQUE.

DIVERSITY.Diversity of clients, projects, solutions, and idea platforms are really important. If all there work is similar and very generic then if you got a job with them then all your work will becoming generic and boring too.

PASSION.Good work is only created when there is a clear passion behind it. We were pitching for a Virgin Formula 1 contract last year, and we are huge fans of Formula 1 at Poke, so were really keen to make sure we won the job. So we decided to turn ouR board-room into a theatre, with Formula 1 pictures and props every-where to make it look quite frankly, pretty mad. But when the Virgin guys came in they saw we clearly were very passionate, and had a real interest and a real insight into what they were doing. We won the contract.

HAVING A LAUGH.You need to laugh at work!

Having a process is formative, routine, and boring.

“

(courtesy of one of London’s leading agencies - Poke)

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to spot a

creative agency.6 7 8 9 10

DO YOUR OWN STUFF.

“

Its important that agencies allow for you to pursue hobbies and interests. From taking part in design competitions to rock climbing! It keeps you fresh, and also it shows that they care about what you enjoy.

Collaborate.Collaboration is magic. We try to collaborate whenever the opportunity arises. It means you learn new ways of thinking, meet new people, and its fun.

Change is regarded as an opportunity.

Check out Microsoft Vision of the future on youtube. The worlds permanently evolving, so you need to keep up with its evolution. Make it clear what gets you going. Dont over complicate things. Be interesting and create interest. FoRmulate aN approach, and make sure you have a wish list. You need to have a constant curiosity, and be able to talk about it.

Having a process is formative, routine, and boring.

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Outside Poke’s agency in London

Thoughts and views from the fabulous London agency Digit

Waking up at ten to six in a morning for a student is a bizarre experience. Looking out of my bedroom window it’s still dark outside, with Canary Wharf glowing in the distance like the eye of Sauron in Lord of the Rings. If the cup of coffee didn’t wake me up, rush hour was a giant slap in the face. A warning to any student in London that never leaves their house until gone ten, DOUBLE your time to get to anywhere, its mayhem.

I arrive at Albion Caff with a minute to spare, with Joe Turner, a strategist from Digit, (a leading design and interaction agency in the creative hub of London), following a couple of min-utes later.

I felt apprehensive, nervous but also very excited and completely inspired that within the space of three days a design student of this day and age can send an email out to significant figures within the indus-try and then be sat there in front of them face to face with a coffee, able to ask questions, advice and guidance. For this simple reason alone I have the up most respect for the cre-ative industry, because I re-ally couldn’t see this type of willingness to help happen in the banking world. Sorry bankers.

This was never going to be a q and a meeting, I had a few bullet points and key questions that I wanted to ask to trigger discussions, my blackberry set to voice record and my coffee; that was it.

I kicked things off by com-ing straight out there and asking Joe, “So what do you think someone who wants to become a designer needs to now to be able to work and keep ahead in the ever-changing world of 21st century design?”

“Wow, that’s a big ques-tion.”

“I mean do people wanting to become a designer need good tea and coffee making skills and listen to a certain type of music? Or even have a particular style?”

Joe laughs, “Its funny you should say that. I have a friend who’s a designer for iTunes, and I was due to meet him back in Decem-ber for a Christmas party in the evening. That day I was in a very trendy inde-pendent shop in Shoreditch and found these really cool brogues that were way too expensive. But they were a limited edition and only twenty existed in the world so I thought fuck it and got them. When I got to the party with my swanky new brogues on, my mate turns to me and goes “‘I don’t believe it’” and lifts up his foot to see the same bloody brogues I just brought staring me in the face! So it goes to show that the creative industry does have some sort of style fa-miliarities, we drink in the same pubs and clearly have similar tastes, so yeah may-be there is a style to abide by. But it’s probably some-thing that comes naturally

to the industry.”

When it comes to music and coffee making skills I don’t think that matter’s. At Digit we have a jukebox right at the back of the studio on a raised platform, completely coincidental, it’s just the way the building was built, but we have a computer with iTunes and Spotify on, with some decks and an amp, and everyone is con-nected to it so everyone’s a DJ in the office. So I think music is an element within every agency, but I wouldn’t get caught up on that. What’s important to some-one who wants to become a designer in the 21st century is they need to have the right skills and attitude.”

the creative industry is one big social network.

“

“

Few pointers from a digit.

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We went on to talk about how important skills and the right attitude is. “In this day and age, people within the creative industry are looking for more than just a degree. We are looking for people who have the drive and passion to be success-ful, and have a good portfo-lio to back that up. It’s not all about how good you are on Adobe, because it com-ing up with the great ideas and concepts, which are just as important as your design skills. We’re look-ing for hybrid skills, where you are not just good at design but you can follow your good design up with co presenting the design at a pitch. It’s key to have good social skills; the creative industry is one big social network, not to mention how that’s been multiplied by the social network sec-tor, with Facebook, Twitter and blogs. At the moment Digit are trying to break down the concept of hav-ing job titles. In the big cooperate ad agencies like LBI, designers aren’t client facing so they don’t need to have good presenting skills. But in the smaller agencies like Digit or Poke designers need to be the very best at designing but also have the ability to present to clients, and take on other tasks. By breaking down job titles, it not only utilises that per-son’s abilities, but it also helps with job satisfaction (not doing the same old thing everyday), which is something we all strive for.”

“So who would you say are the front runners in the in-dustry at the moment?”

“Anomily who are based in New York, are definitely

an up and coming agency who are on the top of their game.” Anomaly describes itself as a response to the notion that the old agency models “are all broken” and “the traditional solu-tions are becoming less and less effective”. Its positioning sounds like a bunch of cliches, because so many agencies are talking about the need to re-gear their approach around the same principles: ideas-led, media-neutral, integrated, multi-disciplinary. Anom-aly, though, launched with these principles at its core.

“Poke are obviously always at the top, along side Wie-den and Kennedy. These are the kind of agencies that should be at the top of your wish list.

In fact Poke did a cool thing here in Albion caff. Nicolas Roope (Inventor of inter-active things) developed Baker Tweet, a small digi-tal box with a button and a adjustable knob for the chef. Basically what hap-pens is when the chef has just finished baking some Pain Au Chocolat’s he twists the knob to ‘Pain au Choco-lat’ and hits the button. Once he hits the button it sends out a Twitter message saying that Albion has just pulled out a fresh batch of whatever it is they’ve just made, so in this case Pain au Chocolat and anyone following Albion on twitter gets the alert and generally its just Poke who come and bombard the caff as they are only over the road.”

From what I understand small projects with clever thinking behind them are what keep ‘good’ agencies ticking. They create time to pursue personal ideas, which lead to better creativ-ity, and hey, sometimes gets you dam good food too!

To summarise Joe made it clear that you have to have a range of skills to be suc-cessful in the industry in this day and age. A major part to the creative world is networking, face to face and on social networking tools such as Twitter and blogs. If you can use these tools to your advantage and get to grips with what people like and what people enjoy see-ing then people will follow you, or your name will start to be remembered. The more people you know and the more people that know you heavily increase your chances of getting a job. But being good at socialis-ing and networking is just one aspect, if you can show great thinking and back it up with great design you are half way there.

We are looking for hybrid skills.

““

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Joe outside the Albion Caff -

albioncaff.co.uk

UGGER ME, A GREAT LITTLE CREATIVE B

AGENCY IN SUFFOLK!

Apparently there is a design world outside of London. So I got in touch with a exciting little creative agency in Suffolk to see what crazy ideas they had.

Do you have to have a beard and or/glasses to be taken seriously as a Graphic Designer?

Lev: Sod off!! From experience of meeting graphic designers over the years, their folio and attitude will always win them work over appearences. People in this industry natuar-ally have interets in all aspects of design and fashion, so you do get a lot of trendy design-ers. I do have a beard and will prob need glasses at some point.

Dave: Only a beard is important. The larger the beard, the more creative ideas you can fit in it. Glasses just means you’ve been doing it too long, looking at a blank screen.

Kevin: No, but if you can’t see without them you might struggle!

How on earth does being good at art and drawing when you are young help you become a designer?

Lev: General art and design skills taught to you when you’re young teaches you basic composition / awarness of space. Being able to visualise your ideas is extrem-ley important for a designer. I believe getting the idea down on paper be-fore you go near the mac is important.

Dave: Not much but it does help your embarrassment when you sketch up an idea with of human and people say, why

is that sheep cycling!!!

Kevin: There must be some natural tal-ent to begin with... a natural tendency to use the creative part of the brain as a youngster would make it an easier path.

Is Graphic Design male dominated?

Lev: Used to be, when I studied at college the breakdown was roughly 70/30 male/fe-male. So you naturally saw more male de-signers working. However the breakdown is now 40/60 male/female at college, so things will change.

Dave: Looking at the room... I’d have to say YES Kevin: Not as much as the rest of the business world... it would be far better if we were dominated by females!

What is considered good Graphic Design and why?

Lev: There are some basic rules which you could suggest.Clean layout with good hierachy of messag-ing.Impactfull photography.Colour (has a massive impact on mood/emotion)Think about the audience!!!!!

Dave: Generally a simple idea that will be importantly remembered. A good de-

signer explores the opposite.

Kevin: Something that never forgets it’s purpose but consistently evokes the required emotion.

Is Graphic Design a career for middle class people?

Lev: NO!

Dave: Hell I hope not. I thought it’s for creative people but sometimes you wouldn’t know that.

Kevin: Do me a favour sunshine!You’re ‘avin a laugh ain’t ya!?

Its not what you know, its who you know agree or disagree?

Lev: Disagree. If you have belief in yourself. Nothing can stop you!

Dave: When you start out in a blaze of smoke and mirrors, Its who you know. Then hopefully you’ve not been sacked and its what you know.

Kevin: You might know everybody but if you know nothing you’re a waster!...but similarly... You might be a genius, but if you know nobody, you’re a waste :-)

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Internships: Industry taking advan-tage of and exploiting young design-ers or opportunity of a lifetime for young designers? You decide.

Lev: I think at the end of the day the de-signer will get experience and that is what you want when recruiting.

Dave: Opportunity of a lifetime. I’d be lying if i didn’t own up to working for expenses for almost a year. With prob-ably more peeps wanting to be creatives than celebrities its a dog eat dog world. With all that competition, its got to be an opportunity of a lifetime.

Kevin: The real world of business is quite different from studying... you have to learn things you can’t learn at uni... and we have to find out if you can be the complete package.

What is the point of learning specific technological skills when the tech-nology is always updating?

Unforunately Kevin had to run off to a meeting at this point so had to skip off into the country side and do whatever they do in Suffolk

Lev: Keep upto date with it, everyone else will. It makes the industry a little more ex-citing. New technology, new ways to design.

Dave: Depends on if you want to do something different.

How bad are Graphic Designers from a sustainability point of view?

Lev: Once a graphic designer, always a gra-hic designer.

Dave: It’s a real issue and most that I’ve come across are really interested in the opportunities. Depends on how big the idea is. I can’t see that many diluting an idea to get a pat on the back from the enviro police.

How long after graduation is your design degree worth something?

Lev: Not to fused. Again its about the in-dividual and their folio rather than a quali-fictaion.

Dave: I’ve never been asked what I got, just which Uni was it! If the portfolio is good then it just becomes less and less relevant.

Is a working knowledge of Adobe CS all you really need to qualify as a graphic designer?

Lev: It’s a damn good suite to start you off on this journey. Depending what you get

into you might branch off into other soft-ware. It is the industry standard.

Dave: I’d worry more about having good ideas. You wont be using CS until you can get a good idea past.

3 Things you wish you knew at Uni...

Lev: Working late does not get you a pay rise.Don’t kill yourself with perfectionism.Never be afraid to ask for help.

Dave: I’d need to work for free for al-most a year.All software and computers are about 50% cheaper for students.If I did it again then I would have done a creative placement as a gap year. I think it’s easier to get a placement during Uni than after.

IT WOULD BE FAR BETTER IF WE WERE DOMINATED BY FEMALES!A very special thank you to Director of Poulsen Selleck - Kevin, Creative Director - Lev and Graphic Designer Dave. www.poulsensellek.com

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Digit - www.digitlondon.comPoke - www.pokelondon.com Poulsen Selleck - www.poulsenselleck.com

Steve Hooper - Ogilvy (ogilvy.co.uk)Joe Turner - Digit Jemma Robinson - Oil Studios (oilstudios.com)

You’ve all been a huge help and a massive inspiration.

Oh and for the record, I’m now interning at Digit. Good luck and get out there!

This project has been a fascinating, exciting and inspiring. It just goes to show that with a good idea, a bit of confidence and the willingness to get out there it can be done. Once you make that break from studying to the real thing, the feeling is tre-mendous. No wonder the creative industry is thriving with new talent, new ideas, and great people. I’ve come across so many fantastic people while doing this newspaper and would just like to thank them all.

11

SPECS - One stereotype of a London designer. And if you haven’t got them yet, keep star-ing into that Mac soon enough you’ll find them on your face.

SNOOD - Ok maybe it’s not typically ‘designer like’, but we pride ourselves on our own style (branding yourself). Plus this is London, you can wear practically anything.

Beard - Another stereotype. But hey, it’s easier than shaving! Sorry bankers, tight under the collar by any chance?

Flannel shirt - Take a trip to Shoreditch and count how many you see.

Mac Book - It comes hand in hand with any designer.

Skinny Jeans - Enough said.

Unique footwear - Dr. Martins, Brogues, Converse (the list goes on) But it’s one part of a typical London designer that differs.