Research and Analysis
Lecture Notes
This week, we are required to observe and reflect on the working-practices of the individuals featured in the short-films provided. I found the task to be, somewhat, enlightening and it provided an interesting insight into the thought-processes that underpin the practices found into today’s creative-industries.
Question 1: What would you like to be doing, that you’re not doing in your work?
SomeOne-Simon Manchipp
Transformative, Strategic, Interesting-Three words that Simon uses to describe his practice and the aspirations he has for his company’s output. Simon has built his practice on an eclectic selection of clients, opting to engage with a broad array of industries and services that represent the full spectrum of the needs of society, among them clients from the Health sector, the Law sector and the Small-business sector.
Is this indicative of professional practice, today?-Is it necessary for a contemporary practice to engage a broader clientele in order to succeed, in the ever changing markets of the modern world? In my view, versatility can be both a strength and a weakness. My reasoning for this counter-point is as follows; A practice that is engaged in multiple disciplines, each of which can be considered a profession in its own right, risks applying their talent-pool too sparingly to any given brief. This can be a problem for small companies, as they have a limited staff and are required to assign their skillsets strategically, if they wish to optimise their outputs and increase their margins. How should we approach the management of our time?
How we choose to realise our ideas is often-times dictated by a multitude of variables, including; The time allocated to the research, the specified budgetary-constraints, supply-chains, administration costs, available materials, and the time required to execute and market the finished product. All of which, can dictate how we progress and develop as creators. On this point, it was interesting to hear how Simon and his team have begun to explore the creation of original content, in the form of a digital platform. SomeOne, are not alone in this shift in practice and we can observe this occurrence taking place through-out the creative sector-With the Artist-creator becoming a more common title amidst Millennials.
It would be negligent to not acknowledge the role of technology in this question. Like the Steam-engine and the Automated production line had done so previously, the Digital platform has successfully re-defined the parameters of professional-practice-not only posing a philosophical question pertaining to the defining of the role of the Graphic Designer, but also a practical one.
Sam Winston
Sam describes himself as a “Maker, Artist, and observer of cultural events”
This self-reflective statement is an example of how many professional creatives now view their role within the industry, choosing to undertake a position that allows them to opt for a less restrictive working-method. Here too, we can observe how Sam views his role as a researcher and observer of the cultural events taking place around him-which in-turn, inform his philosophy and his working-methods.
“What makes culture? What are the values of that culture?“-Sam Winston
The question of culture is one that is in perpetual transit, and is perhaps one of the more difficult subjects to address as a commentator. Within the context of this discussion, we can say with confidence that culture is integral to the creative-practice, and plays a formative role in the visual-vocabulary and methods that we choose to employ in our respective works.
Tom Finn and Kristoffer Solling (Regular Practice)
Interestingly, Tom and Kristoffer are seemingly contented with their current approach to professional practice and do not seek to incorporate their respective interests into any given project, if the subject is not applicable to their current brief. This demonstrates self-restraint, and a willingness to streamline their strategy for managing their work-load. They do, however, demonstrate a willingness to engage with interests outside of their work, and keep a record of the subjects that had captured their attention, for future reference.
Sarah Boris
Sarah highlights the value of undertaking collaborations with practitioners outside of her discipline, and how doing so can contribute to a greater understanding of the wider conversation around Visual Communication. On this point, I am in complete agreement. The process of collaboration is an important element in the growth and progression of every practitioner, allowing for personal and professional-development, and the acquisition of new skill-sets.
The most valuable collaborations, in my view, are those that transcend borders and language-barriers, and serve as a bridge across the many divides that separate the global-community. This can have many positive outcomes, and through my work with a Refugee Support Group, I have witnessed first-hand how a sharing of ideas and experiences can bring people closer together. It is this dialogue that will allow us to remain informed and therefore able to act as commentators on the cultural events, of out time.
Julian Hause and Adrian Talbot (Intro)
In this conversation, Julian and Adrian discuss the importance of remaining interested in the work that you undertake. They elaborate on how, complacency can lead to dissatisfaction in ones’ endeavours and how this can impact the quality of the output of the studio. The key to evading this challenge, in their view, is the undertaking of projects outside of commercial practice.
Question 2: How important are side-projects and are you currently working on any?
Simon Manchipp
Like many companies today, SomeOne have chosen to diversify their company portfolio through the creation of original content, primarily explored through the undertaking of self-initiated side-projects. This is one example of how a commercial practice can continue to explore ideas and working-methods through experimentation and play, and by undertaking a side-project the participants are able to take greater risks and enjoy a level of freedom that is not always so accessible, in the projects that the company undertake on a day-to-day basis.
Sam Winston
“Trusting yourself to fill the space, by actively not engaging with the task“-Sam Winston
“Finding answers in solitude“-Sam Winston
“Engaging with social issues and observing the culture“-Sam Winston
Tom Finn and Kristoffer Solling (Regular Practice)
In answer to the question posed, the discussion turns to the notion of how side-projects can define the identity of the studio, with external influences played a key role in the forming of the studio-culture. It is worth noting too, that this point was made by Sarah Boris, in answer to the same question. Therefore, it would seem to be the case that a number of practicing Graphic Designers believe that it is the interests and influences that they discover outside of their professional work-load that plays the greater role in the formation of their respective, identities and design-philosophy-How does this finding reflect on the standard and nature of the projects available to a contemporary-practice, working today?
Sarah Borris
Sarah’s view on how side-projects inform one’s work is in-keeping with the view of Tom Finn and Kristoffer Solling of Regular Practice, that being that the work that they undertake outside of their day-job plays a formative role in their respective identities. And for Sarah at least, this is largely due to the fact that the work that she undertakes outside of her commercial practice is completely lacking in compromise.
JohnPrinceBranding 