brief 06 - dc signature 2
DESCRIPTION
DC Signature 2TRANSCRIPT
36|
HIG
H E
ND
DE
SIG
NKirsty Hair | Design Context
17H
IGH
EN
D D
ESI
GN
|
This
spr
ead
from
193
5 sh
ows
the
inte
grat
ion
of a
ll gr
aphi
c el
emen
ts. B
rodo
vitc
h ac
cent
uate
s th
e fl u
idit
y an
d m
ovem
ent o
f the
imag
es b
y us
ing
repe
titi
on a
nd d
iago
nal
and
hori
zont
al s
tres
s. H
e us
es th
e co
ntac
ts li
ke fr
ames
fr
om a
fi lm
and
cre
ates
the
illus
ion
of m
ovem
ent a
nd
spon
tane
ity
acro
ss th
e le
ft-
hand
pag
e. T
he s
trip
s of
fi lm
ov
erfl o
w o
nto
the
oppo
sing
pa
ge, a
s if
the
danc
ers
have
twir
led
acro
ss th
e sp
ine
of th
e m
agaz
ine.
The
en
larg
emen
t on
the
righ
t-ha
nd p
age
depi
cts
the
gran
d fi n
ale
of th
is d
ance
num
ber.
Words and images taken from: www.iconofgraphics.com/alexey-brodovitch
18|
HIG
H E
ND
DE
SIG
NKirsty Hair | Design Context
35D
ESI
GN
ER
S &
STU
DIO
S |
abst
ract
nam
e to
sta
nd
out.
A c
ombi
nati
on o
f our
ow
n su
rnam
es w
ould
hav
e so
unde
d lik
e an
ad
agen
cy
– n
ames
wit
h de
sign
or
crea
tive
, etc
in th
em s
ound
na
ff, a
litt
le o
bvio
us a
nd la
ck
crea
tivi
ty.
How
man
y p
eop
le w
ork
in t
he
stu
dio
?30 W
hat
mak
es F
OU
R I
V
un
iqu
e?O
ur c
reat
ive
and
luxu
ry
styl
ing
unde
rsta
ndin
g co
mbi
ned
wit
h a
com
mer
cial
non
ce.
Seco
ndly
our
str
uctu
re
enab
les
us to
del
iver
br
ands
and
env
iron
men
ts
sim
ulta
neou
sly.
To
devi
se a
new
and
rel
evan
t po
siti
onin
g fo
r a
bran
d an
d se
e it
thro
ugh
to p
rodu
ctio
n.
Mov
ing
from
vis
ion
to
com
mer
cial
rea
lity.
Wh
at e
xcit
es y
ou a
t th
e m
omen
t?Th
e qu
alit
y of
Bri
tish
des
ign
is s
till
reco
gniz
ed a
nd s
ough
t af
ter
thro
ugho
ut th
e W
orld
. Th
is is
exc
itin
g, h
owev
er
the
grow
th o
f hom
e gr
own
desi
gn in
em
ergi
ng m
arke
ts
will
bri
ng v
ery
stro
ng
com
peti
tion
ove
r th
e ne
xt
few
yea
rs. F
indi
ng w
ays
to
stay
ahe
ad o
f the
gam
e is
the
mos
t exc
itin
g ch
alle
nge.
Wh
at’s
hap
pen
ing
now
in
des
ign
? Is
th
ere
anyt
hin
g yo
u lo
ve o
r h
ate?
I th
ink
that
as
mor
e an
d m
ore
is g
ener
ated
thro
ugh
the
Mac
, tw
o th
ings
will
ha
ppen
. A r
ise
of n
ew
craf
ts c
omin
g fr
om th
e ne
w te
chno
logi
es a
nd
a re
surg
ence
and
new
inte
rest
in th
e ol
d cr
afts
and
te
chni
ques
like
lett
erpr
ess,
ha
ndw
riti
ng, e
ngra
ving
, ill
ustr
atio
n, w
oodc
uts,
etc
.
How
do
you
sta
rt a
p
roje
ct?
It d
epen
ds o
n th
e pr
ojec
t, bu
t gen
eral
ly th
e ke
y th
ing
is to
und
erst
and
and
chal
leng
e th
e br
ief,
seco
ndly
un
ders
tand
the
clie
nt a
nd
wha
t the
y w
ant,
wha
t the
y ne
eds
and
thei
r bu
dget
s an
d ap
peti
te to
cre
ate.
The
n lis
ten,
que
stio
n an
d sh
are
idea
s. A
t the
beg
inni
ng th
ere
is n
o su
ch th
ing
as a
bad
id
ea. R
esea
rch,
pre
para
tion
an
d be
nch
mar
king
is a
goo
d st
art.
How
do
you
wor
k? D
o yo
u p
refe
r to
mak
e th
ings
wit
h y
our
han
ds,
ta
ke p
hot
ogra
ph
s or
m
anip
ula
te im
ager
y on
sc
reen
?A
ll of
the
abov
e, a
ltho
ugh
a lo
t of t
he o
n sc
reen
m
anip
ulat
ion
is d
one
thro
ugh
othe
r pe
ople
.
Wh
at r
ecen
t tr
end
s h
ave
you
not
iced
wit
hin
d
esig
n f
or t
he
luxu
ry
sect
or?
Wit
hin
fash
ion
the
infl u
ence
of
the
Asi
an c
onsu
mer
and
th
e en
dles
s de
man
d fo
r br
and
and
expr
esse
d de
tail
is b
ecom
ing
dom
inan
t. A
uthe
ntic
ity
is a
key
tren
d,
the
need
to fe
el r
elev
ant t
o le
vera
ge a
her
itag
e. H
owev
er
this
sho
uld
be d
one
wit
h co
ntem
pora
ry r
elev
ance
.
Wh
at in
spir
es y
ou a
nd
ke
eps
you
foc
use
d?
Trav
el, v
arie
ty a
nd s
tron
g te
am o
f ind
ivid
ual t
alen
ts
and
pers
onal
itie
s to
bou
nce
off.
And
the
need
to p
ay th
e m
ortg
age.
Wh
at s
tud
ios
or
des
ign
ers
do
you
ad
mir
e?Pe
ntag
ram
(par
ticu
larl
y Jo
hn R
ushw
orth
), B
aron
and
B
aron
NY
and
Stud
io N
B.
How
do
you
bal
ance
th
e cr
eati
ve a
nd
th
e co
mm
erci
al s
ide
of t
he
job
?B
y co
mm
unic
atio
n an
d un
ders
tand
ing
that
des
igne
rs
perf
orm
a c
omm
erci
al
role
thro
ugh
crea
tivi
ty
and
not c
reat
ivit
y th
roug
h co
mm
erci
alis
m! W
e ar
e a
busi
ness
not
an
arti
st s
tudi
o.
How
imp
orta
nt
is
bei
ng
envi
ron
men
tall
y co
nsc
iou
s w
hen
cre
atin
g h
igh
en
d d
esig
n?
It is
bec
omin
g m
ore
and
mor
e im
port
ant t
o un
ders
tand
the
impa
ct o
f ev
eryt
hing
we
do o
n ot
her
peop
le a
nd o
ur e
nvir
onm
ent.
Hig
h de
sign
has
a s
tron
g ro
le to
pla
y –
oft
en c
hoic
e of
br
and
now
will
be
as m
uch
to
do w
ith
mor
al ju
dgm
ents
as
visu
al d
esig
n.
Do
you
hav
e an
y la
st
wor
ds
of w
isd
om f
or a
gr
adu
atin
g cr
eati
ve?
List
en, a
bsor
b ev
eryt
hing
, w
ork
hard
, ins
pira
tion
is
on y
our
door
step
as
wel
l as
afa
r. H
ave
a vi
sion
, be
will
ing
to le
arn
and
get a
s m
uch
expe
rien
ce a
s po
ssib
le.
And
mak
e su
re y
ou u
se
your
em
otio
nal i
ntel
ligen
ce.
Succ
ess
in d
esig
n is
10%
cr
eati
vity
, the
res
t is
hard
w
ork
and
pers
uasi
on.
Images taken from: www.fouriv.com
34|
HIG
H E
ND
DE
SIG
NKirsty Hair | Design Context
FO
UR
IV
Inte
rvie
w w
ith
An
dy
Bon
e
FOU
R I
V is
a le
adin
g Lo
ndon
bas
ed g
raph
ic a
nd in
teri
or
desi
gn a
genc
y. I
t is
the
cre
ativ
e ag
ency
beh
ind
som
e of
the
wor
lds
mos
t ex
citi
ng a
nd c
omm
erci
ally
pro
ven
reta
il an
d le
isur
e lu
xury
bra
nds.
The
com
pany
has
bee
n es
tabl
ishe
d fo
r 22
yea
rs a
nd w
as f
ound
ed a
nd i
s jo
intl
y ow
ned
by C
hris
Dew
ar-D
ixon
and
And
y B
one.
Th
e te
am i
s m
ade
up o
f st
rate
gic
thin
kers
, gr
aphi
c de
sign
ers,
inte
rior
des
igne
rs, a
rchi
tect
s, p
roje
ct m
anag
ers
and
supp
ort s
taff
sel
ecte
d fo
r th
eir
crea
tivi
ty, e
xper
ienc
e an
d in
nova
tive
ski
lls.
I
spok
e to
And
y B
one
to fi
nd
out
mor
e ab
out
the
wor
king
pro
cess
es b
ehin
d th
is u
niqu
e ag
ency
and
to
ask
his
opin
ions
on
desi
gn fo
r th
e hi
gh e
nd.
How
wou
ld y
ou d
escr
ibe
the
wor
k p
rod
uce
d a
t F
OU
R I
V?
FOU
R I
V w
orks
wit
h br
ands
that
wan
t to
stan
d ou
t, of
ten
in th
e lu
xury
se
ctor
. Our
wor
k bl
ends
a
pass
ion
for
crea
tivi
ty
wit
h an
und
erst
andi
ng o
f lu
xury
sty
ling
and
ensu
res
this
is a
lway
s de
liver
ed in
a
com
mer
cial
con
text
. It i
s cl
ean,
und
erst
ated
, det
aile
d an
d te
xtur
al.
Wh
ere
did
th
e n
ame
com
e fr
om?
Whe
n w
e st
arte
d th
e bu
sine
ss w
e w
ere
4 in
divi
dual
s al
l wor
king
to
geth
er. W
e w
ante
d an
19D
ESI
GN
ER
S &
STU
DIO
S |
DE
SIG
NE
RS
& S
TU
DIO
S
20|
HIG
H E
ND
DE
SIG
NKirsty Hair | Design Context
33D
ESI
GN
ER
S &
STU
DIO
S |
Pige
ons
& P
eaco
cks
-Th
ird
issu
e of
the
mag
azin
e cr
eate
d fo
r th
e Lo
ndon
C
olle
ge o
f Fas
hion
.
Words and images taken from: www.whynotassociates.com
Pige
ons
& P
eaco
cks
- Q
uart
erly
fanz
ine
for
Lond
on C
olle
ge o
f Fas
hion
sh
owca
sing
stu
dent
s w
ork.
32|
HIG
H E
ND
DE
SIG
NKirsty Hair | Design Context
WH
Y N
OT
AS
SO
CIA
TE
S
Env
y -
Cor
pora
te id
enti
ty,
for
Lond
on b
ased
pos
t pr
oduc
tion
faci
lity.
Sho
win
g th
e id
enti
ty r
unni
ng a
cros
s a
rang
e of
del
iver
able
s:
incl
udin
g le
tter
head
, bu
sine
ss c
ard,
com
plim
ents
sl
ip, C
D p
acka
ging
, not
e bo
oks,
bel
lyba
nds,
vid
eo
labe
ls a
nd p
acka
ging
, tag
s.
Why
Not
Ass
ocia
tes
is a
Bri
tish
Gra
phic
Des
ign
com
pany
wit
h gl
obal
rea
ch, d
esig
ning
for
clie
nts
in b
usin
ess,
gov
ernm
ent a
nd th
e pu
blic
sec
tor.
For
nea
rly
twen
ty fi
ve y
ears
, Why
Not
Ass
ocia
tes
has
been
cre
atin
g in
nova
tive
wor
k fo
r cl
ient
s la
rge
and
smal
l. Th
eir
team
wor
ks i
n m
any
diff
eren
t m
edia
, on
man
y ty
pes
of p
roje
cts,
in
clud
ing
corp
orat
e id
enti
ty,
digi
tal
desi
gn,
mot
ion
grap
hics
and
te
levi
sion
com
mer
cial
dir
ecti
on,
edit
oria
l de
sign
, en
viro
nmen
tal
desi
gn, p
ublis
hing
, and
pub
lic a
rt.
Th
is b
read
th o
f ex
peri
ence
mea
ns t
hat
they
can
orc
hest
rate
co
mpl
ex c
ampa
igns
for
glo
bal
bran
ds s
uch
as N
ike,
Fir
st D
irec
t ba
nk,
Vir
gin
Rec
ords
and
the
BB
C.
They
als
o ch
eris
h sm
alle
r lo
cally
bas
ed c
omm
issi
ons
such
as
publ
ic r
elat
ions
for
reg
iona
l go
vern
men
t and
pub
lic a
rt in
stal
lati
ons
for
spec
ifi c
com
mun
itie
s.
21D
ESI
GN
ER
S &
STU
DIO
S |
AN
DR
EW
WO
OD
HE
AD
And
rew
W
oodh
ead
is
a fr
eela
nce
arti
stic
di
rect
or
and
grap
hic
desi
gner
w
ho w
orks
aro
und
typo
grap
hy,
mus
ic,
fash
ion,
pub
lishi
ng a
nd c
orpo
rate
are
as.
He
take
s in
spir
atio
n fr
om h
is P
aris
ian
surr
ound
ings
by
cons
iste
ntly
man
agin
g to
mak
e ea
ch t
ypog
raph
ic p
roje
ct t
ruly
el
egan
t. W
heth
er i
t is
a l
ogo
or a
ful
l ty
pefa
ce,
ther
e is
a r
unni
ng t
hem
e of
ex
peri
men
tati
on
and
soph
isti
cate
d st
ylis
tic
choi
ces
that
cr
eate
A
ndre
w’s
co
hesi
ve s
tyle
.
Words and images taken from: www.andrewwoodhead.com
22|
HIG
H E
ND
DE
SIG
NKirsty Hair | Design Context Kirsty Hair | Design Context
3 D
EE
P
How
wou
ld y
ou d
escr
ibe
the
wor
k p
rod
uce
d a
t 3
Dee
p?
Com
pelli
ng.
Wh
ere
did
th
e n
ame
‘3
Dee
p’ c
ome
from
?It
cam
e fr
om h
umbl
e ro
ots.
3
youn
g de
sign
ers
sitt
ing
3 D
eep
at a
sm
all d
esk
in
a re
side
ntia
l apa
rtm
ent i
n R
ichm
ond.
Wh
at m
akes
3 D
eep
u
niq
ue?
Our
peo
ple.
How
do
you
wor
k? D
o yo
u p
refe
r to
mak
e
thin
gs w
ith
you
r h
and
s,
take
ph
otog
rap
hs
or
man
ipu
late
imag
ery
on
scre
en?
We
wor
k in
wha
teve
r m
anne
r is
app
ropr
iate
for
a pr
ojec
t. So
me
proj
ects
ca
ll fo
r a
hand
s on
art
isan
al
appr
oach
and
oth
ers
a m
ore
mec
hani
cal a
nd d
igit
ised
pr
oces
s. I
t rea
lly d
epen
ds
on w
hat w
e ar
e lo
okin
g to
ach
ieve
and
wha
t the
ob
ject
ives
of t
he p
roje
ct a
re.
Som
e po
lar
exam
ples
are
pr
obab
ly th
e fo
llow
ing
two
proj
ects
. The
Lam
inex
sta
nd
is a
gre
at ‘h
ands
on’
exa
mpl
e w
here
we
hand
wov
e 12
m
eter
s of
tim
ber
whe
reas
the
Har
rold
s pr
oces
s is
alm
ost
enti
rely
dig
ital
.
How
do
you
usu
ally
sta
rt
a p
roje
ct?
Wit
h ap
prov
al o
n th
e bu
dget
! O
n a
mor
e se
riou
s no
te, o
ur
proc
ess
thro
ugh
a pr
ojec
t can
be
sum
mar
ised
as
follo
ws;
1. E
stab
lish
obje
ctiv
es2.
Est
ablis
h br
and
stra
tegy
3. U
nder
take
des
ign
deve
lopm
ent
4. I
mpl
emen
tati
on5.
Man
agem
ent
& c
onsu
ltat
ion
How
man
y p
eop
le w
ork
in t
he
stu
dio
?A
t pre
sent
ther
e ar
e 13
cr
eati
ve s
ouls
.
Wh
at in
spir
es y
ou a
nd
ke
eps
you
foc
use
d?
Payi
ng th
e bi
lls k
eeps
us
focu
sed!
:) M
any
thin
gs
insp
ire
us o
r infl u
ence
us
3 D
eep
is a
bra
ndin
g an
d co
mm
unic
atio
n ag
ency
, w
ho
crea
te e
xtra
ordi
nary
bra
nds
for
extr
aord
inar
y pe
ople
. Th
eir r
elat
ions
hip
to b
rand
ing,
des
ign
and
com
mun
icat
ion
star
ted
mor
e th
an 1
5 ye
ars
ago
and
ever
sin
ce, t
hey
have
be
en c
reat
ing
valu
e an
d bu
ildin
g de
man
d fo
r the
ir c
lient
s.
Thei
r co
mm
itm
ent
to w
hat
they
pro
mis
e is
evi
denc
ed in
th
eir
cont
inua
l inv
estm
ent
in t
hree
defi
nin
g ar
eas
of t
he
busi
ness
: Str
ateg
ic a
nd c
reat
ive
proc
ess,
the
ir w
ork
wit
h th
e va
ngua
rd, a
nd li
ving
and
par
tici
pati
ng in
the
mar
kets
on
whi
ch t
hey
focu
s. T
hey
have
wor
ked
for
bran
ds s
uch
as M
adon
na f
or L
ouis
Vui
tton
, Th
e A
ustr
alia
n B
alle
t, To
ni M
atic
evsk
i, Jo
hn W
ardl
e A
rchi
tect
s an
d H
arro
lds.
H
ere
I sp
oke
to B
rett
Phi
llips
, the
Fou
nder
and
CE
O
of 3
Dee
p, t
o fi n
d ou
t m
ore
abou
t th
e w
orki
ng p
roce
ss
behi
nd o
ne o
f the
mos
t inn
ovat
ive
and
crea
tive
bus
ines
ses
in th
e w
orld
, and
to a
sk h
is o
pini
ons
on w
hat i
t mea
ns to
de
sign
for
the
high
end
toda
y.
Inte
rvie
w w
ith
Bre
tt P
hil
lip
s
31D
ESI
GN
ER
S &
STU
DIO
S |
wee
k in
Phi
lade
lphi
a. M
assi
vely
exc
ited
to b
e w
orki
ng w
ith
Jaso
n To
zer
agai
n an
d I
don
’t th
ink
we
can
fail
to c
reat
e so
met
hing
bea
utifu
l w
ith
wha
t we’
ve b
een
wor
king
wit
h...
How
do
you
bal
ance
th
e cr
eati
ve a
nd
th
e co
mm
erci
al s
ide
of t
he
job
?I
don’
t, I’m
rea
lly b
ad a
t foc
ussi
ng o
n an
ythi
ng
and
am a
lway
s ig
nori
ng p
ayin
g br
iefs
for
som
e st
upid
exp
erim
ent b
ut b
oth
are
equa
lly
impo
rtan
t. R
ight
now
I’m
kee
ping
it a
bout
60%
co
mm
erci
al, 4
0% p
erso
nal.
One
rea
lly in
form
s th
e ot
her.
Wit
hout
my
expe
rim
enta
l stu
ff I
w
ould
n’t k
eep
gett
ing
hire
d an
d w
itho
ut g
etti
ng
hire
d I
coul
dn’t
affo
rd to
do
the
expe
rim
enta
l st
uff.
Wh
at in
spir
es y
ou a
nd
kee
ps
you
fo
cuse
d?
See
abov
e; I
’m p
rett
y ba
d at
sta
ying
focu
ssed
w
hich
is w
hy I
like
to h
ave
2 or
3 p
roje
cts
on a
t a
tim
e so
I c
an fl
it b
etw
een
them
. I th
ink
I m
ay
have
Att
enti
on D
efi c
it D
isor
der.
I’m
insp
ired
just
by
bein
g pr
oud
of w
hat I
cre
ate.
I d
on’t
seek
out
aw
ards
any
mor
e or
pub
lic a
ppro
val f
or
my
wor
k bu
t it d
oes
seem
to a
ttra
ct a
tten
tion
w
hich
is a
sig
n I’m
doi
ng s
omet
hing
rig
ht I
su
ppos
e. D
ying
and
get
ting
old
mot
ivat
es m
e.
Seri
ousl
y. I
hat
e th
e id
ea o
f sta
ndin
g st
ill o
r th
e th
ough
t of g
etti
ng to
a p
oint
in m
y lif
e w
here
I
can’
t cre
ate
som
ethi
ng a
nd w
ishi
ng I
’d d
one
it
whe
n I
was
you
nger
, so
I tr
y an
d re
alis
e ev
ery
idea
I h
ave.
How
imp
orta
nt
is b
ein
g en
viro
nm
enta
lly
con
scio
us
wh
en c
reat
ing
hig
h e
nd
d
esig
n?
It is
impo
rtan
t at a
ll le
vels
, esp
ecia
lly o
nes
that
th
e pu
blic
take
s no
tice
of.
I’m p
rett
y go
od a
nd
run
basi
cally
a p
aper
less
offi
ce; I
don
’t ev
en
have
a p
rint
er s
o it
’s a
nnoy
ing
whe
n I
need
to
use
one
but I
’ll fi
nd a
way
aro
und
it.
Fin
ally
, do
you
hav
e an
y la
st w
ord
s of
w
isd
om f
or a
gra
du
atin
g cr
eati
ve?
Hah
, don
’t lis
ten
to m
e! I
’m h
ere
by a
ccid
ent!
Images taken from: www.wordsarepictures.co.uk
30|
HIG
H E
ND
DE
SIG
NKirsty Hair | Design Context
scie
ntis
t or
wha
teve
r th
en c
ool b
ut I
don
’t se
ek
out s
olut
ions
like
that
inte
ntio
nally
. Aft
er th
at
I’ll r
etur
n to
the
clie
nt w
ith
som
e fi r
st th
ough
ts
and
the
proj
ect e
volv
es o
rgan
ical
ly fr
om th
ere.
How
do
you
wor
k? D
o yo
u p
refe
r to
m
ake
thin
gs w
ith
you
r h
and
s, t
ake
ph
otog
rap
hs
or m
anip
ula
te im
ager
y on
sc
reen
?A
s m
uch
as I
can
I tr
y an
d do
for
real
. The
re’s
no
thin
g yo
u ca
n’t r
ende
r or
cre
ate
wit
h C
GI
thes
e da
ys b
ut I
just
fi nd
that
wor
k bo
ring
and
un
sati
sfyi
ng. T
his
love
of t
he h
andm
ade
com
es
from
my
tim
e w
orki
ng w
ith
lett
erpr
ess
- whi
ch
is a
ll I
used
to d
o. I
f a p
roje
ct h
asn’
t see
n yo
ur
hand
s yo
u ca
n’t r
eally
cla
im to
hav
e ‘c
reat
ed’
anyt
hing
I d
on’t
thin
k.
A lo
t of
des
ign
wit
hin
th
e lu
xury
an
d
fash
ion
sec
tors
is p
hot
ogra
ph
y ba
sed
w
ith
min
imal
, leg
ible
typ
e to
let
imag
ery
of t
he
pro
du
ct s
pea
k fo
r it
self
. You
see
m
to li
ke p
ush
ing
the
bou
nd
arie
s an
d
pu
ttin
g m
ore
emp
has
is o
n t
he
typ
e. H
ow
do
you
rec
ogn
ise
wh
en s
omet
hin
g is
w
orki
ng
and
wh
en y
ou h
ave
take
n t
hin
gs
too
far?
I do
n’t s
top
unti
l I’m
told
to. I
thin
k, th
ere’
s al
way
s a
poin
t at w
hich
you
rea
lise
that
this
is
no
long
er c
omm
unic
atin
g bu
t I th
ink
my
tole
ranc
e fo
r th
at is
hig
her
than
oth
er p
eopl
e’s.
I
have
no
prob
lem
wit
h m
akin
g pe
ople
wor
k fo
r in
form
atio
n. I
thin
k if
you
enga
ge p
eopl
e in
th
e ri
ght w
ay, p
rese
nt th
em w
ith
info
rmat
ion
in
an ‘a
ppro
pria
te v
isua
l man
ner’
(Vig
nelli
), th
en
they
’ll w
ant t
o re
ad it
and
do
the
wor
k re
quir
ed.
Wh
at’s
hap
pen
ing
now
in d
esig
n?
Is
ther
e an
yth
ing
you
love
or
hat
e?Th
ere’
s a
ton
of o
ld fa
shio
ned
shit
whi
ch I
ha
te. C
allig
raph
ic, r
ibbo
n ty
pogr
aphy
, pas
tel
colo
urs…
it’s
all
so tw
ee a
nd 1
950s
, rea
lly n
ot
rele
vant
to a
nyth
ing
toda
y bu
t it’s
eve
ryw
here
. I
like
that
ther
e’s
a lo
t of s
mal
l stu
dios
pop
ping
up
her
e an
d th
ere.
I fe
el li
ke th
at’s
the
new
m
odel
; wor
king
wit
h pe
ople
on
a pr
ojec
t by
proj
ect b
asis
whi
ch w
orks
for
me
as th
at’s
how
I
like
to r
un th
ings
.
Wh
at s
tud
ios
or d
esig
ner
s d
o yo
u
adm
ire?
I’m k
ind
of m
ovin
g aw
ay fr
om th
e de
sign
sce
ne,
not i
nten
tion
ally
but
just
bec
ause
of t
he w
ork
that
’s c
ome
my
way
. I h
ave
a lo
t of r
espe
ct fo
r st
udio
s th
at d
o ju
st g
ood,
cle
an, w
ell e
xecu
ted
desi
gn w
ork
but t
hey
all k
ind
of m
erge
into
on
e fo
r m
e un
less
I r
eally
get
to th
inki
ng a
bout
th
em. B
y an
d la
rge
I lik
e pe
ople
who
don
’t fo
llow
tren
ds b
ut I
’m m
ore
draw
n to
imag
e-m
aker
s lik
e To
m D
arra
cott
, Jon
atha
n Za
wad
a,
Nic
k K
nigh
t, C
arl B
urge
ss a
nd J
o R
atcl
iffe
amon
gst o
ther
s fo
r th
eir
abili
ty to
com
e up
wit
h so
luti
ons
I w
ould
nev
er h
ave
drea
med
of.
Was
th
ere
any
kin
d o
f in
spir
atio
n
or f
ocu
s th
at le
d y
ou t
o yo
ur
curr
ent
wor
kin
g st
yle?
I w
as w
eene
d on
the
wor
k of
Car
son,
Sa
gmei
ster
, Tom
ato
and
Vau
ghn
Oliv
er w
ho,
in th
e 19
90s
we’
re d
oing
thin
gs I
’d n
ever
see
n w
ith
type
. Tea
ring
it u
p, s
how
ing
you
the
insi
des,
mes
sing
it u
p… a
nd, a
rgua
bly
they
w
ent t
o fa
r bu
t it w
as th
e ze
itge
ist.
We
wer
e al
l ang
ry a
nd li
sten
ing
to N
irva
na a
nd T
he
Smas
hing
Pum
pkin
s ba
ck th
en s
o it
wor
ked
for
the
tim
e. I
men
tion
ed e
arlie
r a
grea
t quo
te
by M
assi
mo
Vig
nelli
- th
at ‘G
raph
ic d
esig
n is
the
com
mun
icat
ion
of in
form
atio
n in
an
appr
opri
ate
visu
al m
anne
r’. T
hat’s
som
ethi
ng
that
und
erpi
ns a
ll m
y w
ork;
I w
ant t
he e
nerg
y an
d ex
cite
men
t and
vis
cera
lly o
f the
199
0s
desi
gn s
tyle
but
I w
ant i
t to
be r
elev
ant t
oo, s
o I
neve
r do
thin
gs fo
r th
e sa
ke o
f it.
Wh
at r
ecen
t tr
end
s h
ave
you
not
iced
w
ith
in d
esig
n f
or t
he
luxu
ry s
ecto
r?I
coul
dn’t
say,
I tr
y no
t to
pay
atte
ntio
n to
tr
ends
. I th
ink
peop
le ju
st r
espo
nd to
wha
t th
ey’r
e sp
oon
fed
by b
logs
and
suc
h. I
t’s r
eally
im
port
ant t
hat y
ou c
urat
e yo
ur o
wn
insp
irat
ion
stre
ams.
If y
ou ju
st lo
ok a
t wha
t oth
er p
eopl
e ar
e do
ing
you’
ll ne
ver
get a
nyw
here
.
Wh
at e
xcit
es y
ou a
t th
e m
omen
t?Sp
are
tim
e! I
qui
t my
full
tim
e jo
b la
st y
ear
to
star
t the
stu
dio
as m
y so
le fo
cus
and
it’s
goi
ng
grea
t but
, I’v
e be
en s
o us
ed to
jugg
ling
two
jobs
ef
fect
ivel
y fo
r th
e la
st 7
yea
rs th
at I
’ve
forg
otte
n w
hat i
t’s li
ke to
hav
e sp
are
tim
e. I
t’s g
reat
to b
e in
New
Yor
k an
d be
abl
e to
exp
lore
aga
in a
nd
I’m lo
okin
g fo
rwar
d to
a 2
wee
k, 1
100
mile
, 3
stat
e ro
ad tr
ip o
ut W
est i
n a
coup
le o
f wee
ks
tim
e. W
ork-
wis
e I’m
wor
king
on
my fi r
st m
usic
vi
deo
whi
ch I
’m s
hoot
ing
over
4 d
ays
next
23D
ESI
GN
ER
S &
STU
DIO
S |
24|
HIG
H E
ND
DE
SIG
NKirsty Hair | Design Context
day
to d
ay. O
ur s
taff
, our
ap
proa
ch, t
he p
ossi
bilit
ies
and
the
oppo
rtun
itie
s of
an
y gi
ven
proj
ect.
The
part
ners
hips
that
we
esta
blis
h an
d th
e ex
peri
ence
of
wor
king
wit
h am
azin
g pe
ople
. The
re a
re s
o m
any
chal
leng
es, s
o m
any
com
plex
itie
s to
des
ign
that
I d
on’t
know
how
one
co
uldn
’t be
insp
ired
. Hav
ing
a nu
mbe
r of
bus
ines
ses
also
af
ford
s us
the
oppo
rtun
ity
to
enga
ge w
ith
a va
st a
mou
nt
of a
rt, a
rchi
tect
ure,
fash
ion
and
imag
e m
akin
g fr
om a
ll ar
ound
the
wor
ld. W
e ar
e al
so v
ery
fort
unat
e to
be
able
to
col
labo
rate
wit
h ta
lent
ed
peop
le in
con
tem
pora
ry
danc
e, p
oetr
y, a
rt, m
usic
and
fa
shio
n, th
is is
ver
y in
spir
ing.
Wh
at’s
hap
pen
ing
now
in
des
ign
? Is
th
ere
anyt
hin
g yo
u lo
ve o
r h
ate?
I lo
ve n
ew a
ppro
ache
s to
old
pr
oble
ms.
I h
ate
desi
gner
s no
t will
ing
to c
halle
nge
thei
r cl
ient
s.
Wh
at r
ecen
t tr
end
s h
ave
you
not
iced
wit
hin
d
esig
n f
or t
he
luxu
ry
sect
or?
Perh
aps
that
cre
ativ
es a
re
fi nal
ly u
nder
stan
ding
that
lu
xury
is n
o lo
nger
abo
ut
stat
us, w
ealt
h or
exc
lusi
vity
an
d m
ore
abou
t how
peo
ple
choo
se to
defi
ne
thei
r
expe
rien
ce o
f the
wor
ld. W
e se
e lu
xury
now
as
a te
rm
used
to d
escr
ibe
a ne
xus
that
con
nect
s us
to th
e m
ost e
ngag
ing,
inno
vati
ve
and
vang
uard
peo
ple
and
expe
rien
ces
of o
ur ti
me.
Wh
at e
xcit
es y
ou a
t th
e m
omen
t?Th
e la
unch
of o
ur n
ew s
ite
and
the
stra
tegi
c ch
ange
in
the
dire
ctio
n of
our
bus
ines
s.
It is
ope
ning
doo
rs th
at h
ave
prev
ious
ly b
een
lock
ed.
Wh
at s
tud
ios
or
des
ign
ers
do
you
ad
mir
e?A
nyon
e w
ho c
ontr
ibut
es to
th
e di
scou
rse
on c
reat
ivit
y an
d de
sign
and
inve
nts
new
m
odel
s fo
r co
mm
unic
atio
n.
The
med
iocr
e or
ave
rage
is o
f no
inte
rest
to m
e.
How
do
you
bal
ance
th
e cr
eati
ve a
nd
com
mer
cial
si
de
of t
he
job?
They
go
hand
in h
and.
If t
he
com
mer
cial
land
scap
e fo
r a
proj
ect i
sn’t
righ
t the
n yo
u w
ill n
ever
be
able
to p
rodu
ce
grea
t out
com
es. E
ach
defi n
es
the
othe
r.
How
imp
orta
nt
is
bein
g en
viro
nm
enta
lly
con
scio
us
wh
en c
reat
ing
hig
h e
nd
des
ign
?I
thin
k it
s im
port
ant w
hen
crea
ting
any
kin
d of
des
ign.
Peop
le o
ften
vie
w it
as
som
ethi
ng th
at th
ey s
houl
d be
thin
king
abo
ut in
add
itio
n to
the
crea
tive
pro
cess
, w
e se
e it
as
som
ethi
ng to
al
way
s ad
dres
s as
par
t of o
ur
crea
tive
pro
cess
.
You
hav
e a
pre
tty
amaz
ing
set
of c
lien
ts.
How
do
you
att
ract
new
?W
e at
trac
t clie
nts
by b
eing
in
volv
ed a
nd in
tere
sted
in
wha
t the
y do
and
who
they
ar
e. O
ur w
ork
is n
ot s
impl
y do
ne a
t a d
ista
nce
and
rem
oved
from
our
clie
nts.
W
e im
mer
se o
urse
lves
in
the
cult
ure
of fa
shio
n,
perf
orm
ing
arts
, etc
. We
subs
crib
e, w
e co
ntri
bute
, w
e at
tend
, we
mak
e, w
e pa
rtic
ipat
e an
d w
e le
arn.
Do
you
hav
e an
y la
st
wor
ds
of w
isd
om f
or a
gr
adu
atin
g cr
eati
ve?
Thin
k lo
ng a
nd h
ard
abou
t w
hat h
as c
ome
befo
re y
ou,
wha
t you
r co
ntri
buti
on is
go
ing
to b
e an
d if
you
have
th
e en
ergy
and
pas
sion
to
mak
e on
e. I
f you
don
’t ha
ve
a cl
ear
unde
rsta
ndin
g of
w
here
you
wan
t to
be te
n ye
ars
and
how
you
can
mov
e de
sign
forw
ard
then
per
haps
co
nsid
er s
omet
hing
els
e. T
he
tim
e w
ill fl
y an
d yo
u ne
ed to
be
pre
pare
d to
sta
nd u
p an
d be
cou
nted
, any
thin
g le
ss is
ju
st a
was
te o
f you
r ti
me.
“We
crea
te e
xtra
ord
inar
y br
and
s,fo
r ex
trao
rdin
ary
peo
ple
.”
29D
ESI
GN
ER
S &
STU
DIO
S |
At
thir
ty y
ears
old
, Cra
ig W
ard
is c
urre
ntly
enj
oyin
g hi
s th
ird
life.
The
fi rs
t was
spe
nt g
row
ing
up in
a r
etir
emen
t vi
llage
in
the
Nor
th E
ast
of E
ngla
nd,
whi
le t
he s
econ
d to
ok h
im t
o Lo
ndon
, whe
re h
e w
orke
d as
an
art
dire
ctor
an
d de
sign
er a
t a h
andf
ul o
f adv
erti
sing
age
ncie
s.
His
thi
rd l
ife fi
nds
him
in
New
Yor
k w
here
he
lives
w
ith
his
wife
and
cat
, con
sult
ing
and
crea
ting
pio
neer
ing,
aw
ard
win
ning
typo
grap
hy a
nd a
rt d
irec
tion
for
a di
vers
e ra
nge
of c
lient
s fr
om fa
shio
n to
adv
erti
sing
and
edi
tori
al.
A
con
trib
utor
to
seve
ral i
ndus
try
jour
nals
and
for
mer
A
DC
You
ng G
un, C
raig
’s w
ork
has
been
sho
wn,
aw
arde
d an
d do
cum
ente
d gl
obal
ly in
cou
ntle
ss b
ooks
, pub
licat
ions
an
d ex
hibi
tion
s.
I sp
oke
wit
h C
raig
War
d, to
fi nd
out
mor
e hi
s w
orki
ng
proc
ess,
his
fas
cina
tion
wit
h ty
pe a
s im
age,
and
how
he
sees
hig
h en
d de
sign
toda
y.
WO
RD
S A
RE
PIC
TU
RE
SIn
terv
iew
wit
h C
raig
Wa
rd
How
wou
ld y
ou d
escr
ibe
the
wor
k p
rod
uce
d a
t W
ord
s ar
e P
ictu
res?
Exp
erim
enta
l but
alw
ays
rele
vant
typo
grap
hic
solu
tion
s fo
r de
sign
and
art
dir
ecti
on a
cros
s th
e ad
vert
isin
g, fa
shio
n, e
dito
rial
and
pub
lishi
ng
indu
stri
es. P
unch
y ri
ght?
How
do
you
sta
rt a
pro
ject
?I
give
mys
elf t
ime
to th
ink
and
sit d
own
som
ewhe
re w
ith
a sk
etch
book
. I’ll
rea
d an
d re
-rea
d th
e ty
pe I
hav
e to
wor
k w
ith
and
som
etim
es v
isua
l tre
atm
ents
com
e to
min
d im
med
iate
ly, s
omet
imes
not
. I li
ke to
try
and
real
ly g
et th
e m
eani
ng a
nd th
e em
otio
n fr
om a
pi
ece
of te
xt th
roug
h as
opp
osed
to th
inki
ng o
f so
me
tric
ksy
trea
tmen
t. If
it e
nds
up r
equi
ring
a
ton
of p
hoto
grap
hy o
r co
llabo
rati
ng w
ith
a
28|
HIG
H E
ND
DE
SIG
NKirsty Hair | Design Context
25D
ESI
GN
ER
S &
STU
DIO
S |
Images taken from: www.3deep.com.au
26|
HIG
H E
ND
DE
SIG
NKirsty Hair | Design Context
SILN
T (p
rono
unce
d as
sile
nt)
is a
des
ign
prac
tice
bas
ed
in th
e R
epub
lic o
f Sin
gapo
re. E
stab
lishe
d in
Mar
ch 2
005,
th
e st
udio
is m
ade
up o
f tw
o pa
rtne
rs, F
elix
NG
(B
.198
2)
and
Ger
mai
ne C
hong
(B.1
985)
.
SIL
NT
27D
ESI
GN
ER
S &
STU
DIO
S |
Words and images taken from: www.silnt.com