lecture summary:
The lecture features several speakers discussing their experiences with self-initiated projects in various creative fields. Christoph Miller, from Offshore Studio, discusses their journey from studying design to founding their studio, which focuses on editorial design, typography, visual storytelling, and image-making. They emphasize their interest in self-initiated projects and the need to balance them with commercial work.
Veronica Fuerte, the founder of Hey Studio in Barcelona, shares her perspective on self-initiated projects. She highlights the importance of working on personal ideas to foster creativity and how these projects contributed to building her portfolio.
Vince Frost, CEO of Frost Collective in Sydney, discusses how he applied design principles to improve his life and ended up writing a book, "Design Your Life." He also mentions the challenges and rewards of taking on such a project and the subsequent podcast that followed it.
Sam Bompas of Bompas & Parr discusses their transition from jelly-making to creating creative experiences, including unique projects like alcohol architecture and subterranean pirate boating lakes. He emphasizes the importance of treating all projects, whether self-initiated or for clients, with equal value and planning rigor.
James Stringer of Werkflow talks about their self-initiated video game project called Sovereign, set in British suburbs. He describes the challenges of scriptwriting for a game and the development process, including funding setbacks and the creation of a teaser trailer.
All speakers emphasized the need for balance, planning, and dedication when undertaking such projects, regardless of their scale or nature.
brief analysis
“When you sit in a pub with your friends, telling a story, if they’re paying attention and are genuinely interested, that could be the subject of your next concept.”
—Christoph Miller
Sam Bompas 6 Step Process:
Initial outlines
Scoping
Budget
Timelines
Identify a team
Design phases/implementation
Current Read:
Anthony Burrill.
Anthony Burrill is an eminent graphic artist, known for his distinctive typographic, text-based compositions and his innovative use of traditional and digital printing techniques. His work spans a wide range of media, including posters, moving imagery, and sculpture, and is characterized by its persuasive simplicity, encouraging the viewer to look a little deeper and think a little more.
AB is perhaps best known for his typographic posters, which often feature uplifting messages in bold, simple lettering. One of his most famous works, "Work Hard & Be Nice to People," has become a mantra in design studios around the world. His work is not just visually striking but also carries messages of positivity and motivation, making his art not only aesthetically pleasing but also emotionally resonant.
AB’s journey into the world of graphic design started during a time when digital design was just emerging, but his approach to projects is deeply rooted in traditional printing methods, notably screen printing and letterpress. He often collaborates with traditional printers, like Adams of Rye in East Sussex, to produce his iconic posters. This collaboration underscores his commitment to craftsmanship and the tactile qualities of print.
He has also ventured into environmental and interactive design, creating installations and exhibitions that engage audiences in immersive ways. His projects often involve a participatory element, inviting the audience to contribute to the work, thereby blurring the lines between artist and observer.
Anthony Burrill’s work resonates on multiple levels, offering not just visual pleasure but also inspiration and a call to action. His approach to design is both a nod to the past and a step towards the future, making his work timeless yet entirely relevant in today's world.
focus on: Anthony Burrill
the brief —-
I’m finding the required reading by Peter L. Phillips "Creating the Perfect Design Brief: How to Manage Design for Strategic Advantage," a little… dry and uninspired. However for reference I have attempted to summarize his guidelines for the components of a design brief:
1. Background Information: This involves providing context about the company, its history, and its industry. Understanding the business, its market position, and competitors is crucial.
2. Objectives: Clearly state what the design project aims to achieve. This could be in terms of increasing sales, improving brand recognition, or launching a new product.
3. Target Audience: Detailed information about the target audience is essential. This includes demographic details, consumer behavior, preferences, and how the audience currently perceives the brand.
4. Message: What key message or messages should the design communicate? This should align with the overall brand message and the specific objectives of the project.
5. Deliverables: Specify the physical or digital outcomes of the project. This could range from printed materials to digital assets.
6. Timeline: Outline the project schedule, including key milestones and deadlines. This ensures that the project stays on track and that all parties are aware of important dates.
7. Budget: An essential component that defines the financial constraints of the project. It helps in determining the scope and scale of the design work.
8. Constraints and Mandatories: Any specific requirements, legal considerations, brand guidelines, or restrictions that must be adhered to in the design process.
9. Tone and Brand Personality: Guidance on the tone, style, and personality that the design should convey to align with the brand's identity.
10. Measuring Success: Criteria for evaluating the effectiveness of the design project. This could involve metrics like customer engagement, sales figures, or brand awareness.
Initial Ideas:
Personally I never struggle with ideas, but the time management and reigning myself in to realistic ambitions is the problem.
As it stands I am about to depart my hometown (Whanganui, NZ) to return to my other home - Abu Dhabi. As an avid collector of t-shirts, I have been lamenting the absolute LACK of cool Whanganui t-shirts. There is the odd gaudy find on poor quality fabric, and some with strong tribal affiliations. But nothing with any sense of fashion or city pride.
Place-name tshirts are typically a tourist-centric consumer purchase. But why not have a tshirt that residents want to wear too? Furthermore, could a visual identity in a wearable sense actually help unite an oft divided population?
Brief draft 1: utilizing the components of Phillips.
Design Brief: Unity T for Whanganui
Background Information
Whanganui is a small, vibrant city with a rich history, culture and a diverse community. It has a particular affiliation to creativity, named as a Unesco City of Design.
Despite its many strengths, the town has experienced divisions among its residents along various lines: cultural, political and social. The goal is to create a wearable identity by way of a t-shirt that locals and tourists alike would be proud to wear.
Keywords: creativity, unity
Objectives
- To design a t-shirt that resonates with residents, embodying the spirit of unity, pride and creativity..
- To create a visual representation that transcends existing divisions and celebrates the town's diversity and strengths.
- To have the t-shirts readily available for sale and wear, foresting a sense of belonging.
Target Audience
- All residents of Whanganui, spanning different age groups, cultural backgrounds, and social affiliations.
Message
- The primary message is "Unity" - highlighting that despite differences, the town stands strong together.
- Secondary messages may include themes of creativity and regional pride.
Deliverables
- Design for a t-shirt, suitable for production in various sizes.
- The design should be adaptable for potential future merchandise.
Timeline
4 weeks
Budget
Within the timeframe the budget is to be kept to a minimum, with personal expenditure only on final designs worthy of immediate wear and for consideration for more extensive production
Constraints and Mandatories
- Design must be culturally sensitive and non-political.
- Must be unique
T-shirt material should be sustainable and eco-friendly, aligning with the region’s environmental values.
A local printer must be sought for any future reproductions to align with the city’s “support local” campaign.
Tone and Brand Personality
- The design should evoke creativity, inclusivity, and positivity.
Aesthetic should be minimal, abstract, and appeal to a broad audience,
Ideally avoid any divisive symbolism or colors.
Measuring Success
Gathered by wearing the t-shirt. Potentially displaying some for sale and or exhibition in one of my mum’s galleries/retail stores.
Research Questions:
Can a t-shirt unite a population?
Fashion labels often utilize branded t-shirts as a means to develop brand awareness and loyalty. Can the same principals be applied to encourage pride, loyalty and unity in a diverse population?
What is the cultural and semiotic significance of a t-shirt?