You have your own record label, and you seem to find a lot of time to keep up with some amazing personal projects, but how do you find a balance?(Kirsten Cowie)
There is no balance, life is work and work is life. I do not even attempt to seperate the two, sometimes I can't remember whether my friends are clients or my clients are friends, its all blended together. My social life and my work like blend seamlessly, in fact, most of the time, I forget I am even working.
Would you agree that the work you do for bands gives them a visual identity, and is this something you are conscious of doing? If so… How do you go about creating a visual identity for something? What do you think about/ take into consideration? (Sarah Dawson)
Everything, most of it goes on in the back of my mind and it is very difficult to describe in words. I guess its inherent in designers to understand and be able to carve an aesthetic for each project. I try not to be influenced too much by current trends, but I like to have a lot of dialogue with the band and establish what they want as well as what I think they need.
Does it bother you that the products you create are (necessarily!) expensive luxuries? Or do you like the idea that someone who buys an Isomorph EP will have decided to go without something else as a consequence, and it will therefore mean more to them? (Sarah Dawson)
Its not about it being "expensive" its about it having value - It costs money to make a beautiful object, and it takes time. The price of the record is dependent on many factors. Even though my label is very small I still have to fund the hire of equipment, assisting on tour budgets, transport, and then the record manufacture on top of that. The limited edition nature of the record increases the cost on a manufacturing level as it requires more money to make less of a product. Also especially with the HR record we used specialist print finishes, for example we used a thicker card stock than usual, we printed the inside and outside of the sleeve, and then the laser foiling, coloured vinyl... i could go on, even the plastic slip cases the records come in had to be custom made to accommodate the larger stock and spine, but the sleeves were a must because we didn't want all our beloved editions to be scuffed and crumpled. See we thought a lot about this object, and rightfully so!
I don't like to look at the records as expensive items, they are lovingly created for the buyer, hand packed and numbered. I spend my time making it as beautiful as possible with the hope that everyone that owns it will enjoy it in its entirety, and really truly treasure it, not because it cost them more than another record but that someone cared about making them an object that was special, not just off a production line of thousands that will be sold cheap wholesale and then churned out in record shops. The records I sell are all packed and posted by me, I think that people notice all of these things, as well as the time invested , and after all of these processes recognise that it is not expensive, but that it is of value - and that its price tag is worth paying.
I think that the work you’ve done for Hearts Revolution encourages proper obsessive fandom – the ‘I must own every release on every format!’ mentality. Have you ever been that kind of fan of anything? (Sarah Dawson)
The heartsrevolution manifesto is inclusive and lovingly embraces anyone that wants to support and follow it. i think this is what draws people to it. I am a fan of lots of things I collect tons of weird shit - i have like every single released Radiohead track (probably not EVERY one but I would like to think so). I also collect sharpies and lots of other strange pens & stationary. I even have a rather large paper collection accumulating. I think owning music is becoming more important, It is scary to think that with one crash of a harddrive we could lose everything we love, all our photos memories and music. This is why people are going back to vinyl, so they can see it, it is physical, it stacks on a shelf, it has a weight and a value that cannot be overshadowed even by cheap (or free) readily available MP3's. Also I think since music has become so easy to obtain people are back tracking, they desire the "rare" because it sets them apart. I like the idea that when this record is sold out, there will be no more, the person who owns number 12/500 will own it forever, in fact I even know the name of the owner of the number 12 record, because that is how my label works - every record has an owner and that owner isn't just a number, they are someone who is part of the team that supported this project and believed in what I do.
I’ve read a lot about your aims for Isomorph in terms of design and packaging, but do you have any particular vision of what the world is missing musically and what you’d like to add to it? (Sarah Dawson)
I keep my musical ideas under wraps. I don't feel it is my job to dictate where music is going to go. There is a reason I am designing records not singing on them. I feel like its my job to give people a platform to publish what they do and In that way I am making a statement on what I think is relevant and important in music. There will be lots more to come I assure you, but as for the future I'll leave that to the likes of Dave Sitek, James Ford, and all the musical whizzes out there.
Are there any labels whose approach/ design work really influences you, or anyone currently doing similar things that you respect? (Sarah Dawson)
Two of my close friends and clients run labels Merok and Young Turks. Both of them made me realise it was something I could do and they supported my journey and helped out at times where I needed it. There are lots of independents out there that are doing awesome stuff, whether it be a Grime label or a Noise label, anyone who is investing time in putting out stuff they love gets my vote. Design wise, I still work for the independents and the majors out there, and also act as a consultant to them on numerous creative projects. I don't want to be a snob and only work on my own endeavors I think it is important to help guide the industry as a whole, I don't think I will be able to make a revolution on my own!
Thursday
LONDON
Your work seems kind of synonymous with London and you have created a real creative identity there, how important has it been to you to live, learn and work in the capitol, and what’s now tempting you to spread your wings? (Kirsten Cowie)
It is important that I can go out and meet people and represent myself in person. I don't want London to get sick of me so I think I am going to try my hand at a few of the other capitals late 2008.
It is important that I can go out and meet people and represent myself in person. I don't want London to get sick of me so I think I am going to try my hand at a few of the other capitals late 2008.
BEING A GIRL
For young women thinking that they have to pick just one career or job, any advice? (Simone Baird)
Try everything, eliminate everything you can as young as possible. Work experience will usually only tell you what you don't want to do not what you do. Develop your skill set find what you are good at, learn about businesses and how they run
Try everything, eliminate everything you can as young as possible. Work experience will usually only tell you what you don't want to do not what you do. Develop your skill set find what you are good at, learn about businesses and how they run
UNIVERSITY
Which University did you go to and what did you study?
Art Foundation: Wimbledon School of Art
BA Graphic Design: Camberwell, University of the Arts London FIRST CLASS HONORS
I would recommend the graphics course at camberwell especially if you are moving to london for the first time - camberwell has a nice little community vibe and is more tight knit than the more spread out and higher subscribed courses. You must go have a look around the universities you apply to - that's what I did, and camberwell was the best for me.
Course wise - I think camberwell is excellent in some places, but lacks support in others. If you are willing to fill the gaps yourself its an excellent choice, you will have lots of freedom, and won't be spoon fed.
Art Foundation: Wimbledon School of Art
BA Graphic Design: Camberwell, University of the Arts London FIRST CLASS HONORS
I would recommend the graphics course at camberwell especially if you are moving to london for the first time - camberwell has a nice little community vibe and is more tight knit than the more spread out and higher subscribed courses. You must go have a look around the universities you apply to - that's what I did, and camberwell was the best for me.
Course wise - I think camberwell is excellent in some places, but lacks support in others. If you are willing to fill the gaps yourself its an excellent choice, you will have lots of freedom, and won't be spoon fed.
THE INTERNET
You've got your own website, myspace page and dazed and confused profile, how have you tackled compiling a body of work as a portfolio, how useful have you found online resources in self publication and what other ways do you use to get involved with new projects and commissions?
(Kirsten Cowie)
Online resources are very important. In fact essential. More so 2 years ago I think it was more impressive to have a website, and work showcased online, nowadays its more common, and there for harder to push your work online. A lot of my work has simply come from meeting people, and my good friends and clients recommendations.
(Kirsten Cowie)
Online resources are very important. In fact essential. More so 2 years ago I think it was more impressive to have a website, and work showcased online, nowadays its more common, and there for harder to push your work online. A lot of my work has simply come from meeting people, and my good friends and clients recommendations.
PHOTOGRAPHY
How did you get into photography? (Jack Watts)
I was really ill when I was 15 for about a year, so my dad bought me an old manual camera as a get well present. It all started from there. It was just an old Pentax, but I fell in love with it, it was my first ever SLR.
Which masters of photography do you admire? (Jack Watts)
I'm not really a photography master admirer. I just like images. I think it has a lot to do in what is in front of the camera rather than the model or skill of the photographer. Ultimately my quest is to find beautiful photographs, not amazing photographers.
I was really ill when I was 15 for about a year, so my dad bought me an old manual camera as a get well present. It all started from there. It was just an old Pentax, but I fell in love with it, it was my first ever SLR.
Which masters of photography do you admire? (Jack Watts)
I'm not really a photography master admirer. I just like images. I think it has a lot to do in what is in front of the camera rather than the model or skill of the photographer. Ultimately my quest is to find beautiful photographs, not amazing photographers.
INSPIRATION!!! (NEVER USE THIS WORD!!!)
I know that as art students we are really encouraged to be aware of contemporary illustration as well as researching art history in general relating to our work, I also try and draw from music, film and my friends when coming up with new ideas. Music is obviously a huge part of your life, but what else inspires you?(Kirsten Cowie)
Inspiration is a horrible word. Its not BIG enough to represent the thousands of visual messages and influences one is bombarded with every day... For me its things like, sweet wrappers, streetwear, shop fronts, packaging, science, theory, television, the internet, all these things are inescapable, and have a subconscious affect on everything I do.
Which past/present illustrators or designers have influenced you?
None really. I try not to take influence from illustrators or designers, more so from fine artists, scientists, writers and thinkers. Artists like Haring, Itten, Albers, LeWitt and thinkers like Pinker, Gladwell, Barthes, Songtag... etc
Where do you take influence from? (William Ricketts)
For me its things like, sweet wrappers, streetwear, shop fronts, packaging, science, theory, television, the internet, all these things are inescapable, and have a subconscious affect on everything I do.
Inspiration is a horrible word. Its not BIG enough to represent the thousands of visual messages and influences one is bombarded with every day... For me its things like, sweet wrappers, streetwear, shop fronts, packaging, science, theory, television, the internet, all these things are inescapable, and have a subconscious affect on everything I do.
Which past/present illustrators or designers have influenced you?
None really. I try not to take influence from illustrators or designers, more so from fine artists, scientists, writers and thinkers. Artists like Haring, Itten, Albers, LeWitt and thinkers like Pinker, Gladwell, Barthes, Songtag... etc
Where do you take influence from? (William Ricketts)
For me its things like, sweet wrappers, streetwear, shop fronts, packaging, science, theory, television, the internet, all these things are inescapable, and have a subconscious affect on everything I do.
WORK SPACE / STUDIO
What are the most important things in your workplace? (ehaamke)
My computer, the internet and drawing space.
Can you work everywhere or do you depend on your workplace/studio? (ehaamke)
I moved to america for 3 months this summer, and had to learn to adjust, i'm pretty good at being mobile.
How important is your workplace/studio for you? (ehaamke)
Very important to have space to work, and a load of your things around you to make you feel comfortable, and to stimulate you.
How do you make the place inspiring? (ehaamke)
Posters, objects, technology, equipment that is fun to use.
My computer, the internet and drawing space.
Can you work everywhere or do you depend on your workplace/studio? (ehaamke)
I moved to america for 3 months this summer, and had to learn to adjust, i'm pretty good at being mobile.
How important is your workplace/studio for you? (ehaamke)
Very important to have space to work, and a load of your things around you to make you feel comfortable, and to stimulate you.
How do you make the place inspiring? (ehaamke)
Posters, objects, technology, equipment that is fun to use.
TOOLS + TECHNIQUES
What new skills do you need to learn to be able to fly solo? (Simone Baird)
Determination, organisation, brazen confidence, and a good work ethic.
What markers do you find are the best for drawing/illustrating? (Zara Arshad)
I like using thick felt nibs like sharpies and sign pens as i feel they render better digitally, and I also press quite hard when I draw so ballpoints or drawing fiber nibbed pens just go blunt or bent. For murals I use Posca Markers, made by UNI they are Paint Pens, and are totally amazing, though you are limited by the number of colours and thicknesses.
I've seen some photos where you've drawn straight onto things like windows, caps etc. and was wondering how you get your lines so straight? Do you use some sort of grid or does it just...come natural after so much experience? (Zara Arshad)
No grids, or rules, just lots of practice, and a steady hand!
I was quite interested in finding out how you computerised your hand-drawn works (if you do). Do you draw by hand, scan and then re-create your drawing in Illustrator? (Zara Arshad)
I draw and then scan or photograph high res (depending on the size or if a have a scanner to hand. I retrace in illustrator or use live trace, or if the image is clean I will work with it directly in photoshop.
Pencil VS Mouse: Are you a hands on girl or do u you find yourself
itching for the Mac? (William Ricketts)
I love both, they need each other, and it makes my job more interesting bouncing between the two.
I am interested in finding out how different creative people go about making their work, for example, what is the first thing you do when working on a new project or brief? (Kirsten Cowie)
First thing I do its get started. After talking to the client, probing them with questions I just like to get something down on paper or on screen.
Would you ever consider moving your work into 3D?
Yes I have for a few projects now, I love working with objects, and building things. I think its just a question of getting more projects that me allow me to experiment more with product design and making 3D elements.
A lot of your work is largely geometric and cartoon-style. Have you or would you ever move towards realism in your work?
No way. I am rubbish at that. I did that when I was at school, I was ok at drawing still lives and people. I was always told that that was how you had to draw. "Draw what you see, not what you know". Now I just like to spill my brain out onto the page.
Determination, organisation, brazen confidence, and a good work ethic.
What markers do you find are the best for drawing/illustrating? (Zara Arshad)
I like using thick felt nibs like sharpies and sign pens as i feel they render better digitally, and I also press quite hard when I draw so ballpoints or drawing fiber nibbed pens just go blunt or bent. For murals I use Posca Markers, made by UNI they are Paint Pens, and are totally amazing, though you are limited by the number of colours and thicknesses.
I've seen some photos where you've drawn straight onto things like windows, caps etc. and was wondering how you get your lines so straight? Do you use some sort of grid or does it just...come natural after so much experience? (Zara Arshad)
No grids, or rules, just lots of practice, and a steady hand!
I was quite interested in finding out how you computerised your hand-drawn works (if you do). Do you draw by hand, scan and then re-create your drawing in Illustrator? (Zara Arshad)
I draw and then scan or photograph high res (depending on the size or if a have a scanner to hand. I retrace in illustrator or use live trace, or if the image is clean I will work with it directly in photoshop.
Pencil VS Mouse: Are you a hands on girl or do u you find yourself
itching for the Mac? (William Ricketts)
I love both, they need each other, and it makes my job more interesting bouncing between the two.
I am interested in finding out how different creative people go about making their work, for example, what is the first thing you do when working on a new project or brief? (Kirsten Cowie)
First thing I do its get started. After talking to the client, probing them with questions I just like to get something down on paper or on screen.
Would you ever consider moving your work into 3D?
Yes I have for a few projects now, I love working with objects, and building things. I think its just a question of getting more projects that me allow me to experiment more with product design and making 3D elements.
A lot of your work is largely geometric and cartoon-style. Have you or would you ever move towards realism in your work?
No way. I am rubbish at that. I did that when I was at school, I was ok at drawing still lives and people. I was always told that that was how you had to draw. "Draw what you see, not what you know". Now I just like to spill my brain out onto the page.
FEAR + ASKING FOR HELP
Do you think people are afraid of working outside a traditional company structure? (Simone Baird)
Yes, as there is no guarantee, no support, or back up. Nobody to hold your hand or tell you what to do. I think if you have the confidence to do things by yourself and have methods of getting help when you need it you will be fine. I found when I started off I did ask questions and help from my colleagues and friends who were also in the industry. I still do it today, If I am entering a new market or working on a challenging project, I am never too proud to call and ask advice. I do a lot of research through out my working week, which includes just chatting and meeting up with like minded people or professionals to discover more about the area I am working in. Most of all it is important to be professional and represent yourself, as if you were representing a company.
What are the worst mistakes people make when approaching other people for help? (Simone Baird)
Not actually asking specific questions. Just overloading people with a general need for advice doesn't really allow for quick or efficient answers or support. Specific questions are much easier and more beneficial to learn from.
Yes, as there is no guarantee, no support, or back up. Nobody to hold your hand or tell you what to do. I think if you have the confidence to do things by yourself and have methods of getting help when you need it you will be fine. I found when I started off I did ask questions and help from my colleagues and friends who were also in the industry. I still do it today, If I am entering a new market or working on a challenging project, I am never too proud to call and ask advice. I do a lot of research through out my working week, which includes just chatting and meeting up with like minded people or professionals to discover more about the area I am working in. Most of all it is important to be professional and represent yourself, as if you were representing a company.
What are the worst mistakes people make when approaching other people for help? (Simone Baird)
Not actually asking specific questions. Just overloading people with a general need for advice doesn't really allow for quick or efficient answers or support. Specific questions are much easier and more beneficial to learn from.
COMMERCIAL WORK
You seem to have just dived in at the deep end creating flyers and getting your work known in London, but how have you evolved from these commissions to working with the likes of Top Shop, and how different do find working for smaller compared to bigger organisations? (Kirsten Cowie)
Big and small are surprisingly similar, its not really the size of the client that creates differences, its more their attitude that affects the way a project develops.
Big and small are surprisingly similar, its not really the size of the client that creates differences, its more their attitude that affects the way a project develops.
FREELANCING
What are the advantages and disadvantages of being a freelance artist? (Hannah Whitmore)
Advantages: Money, Excitement, Travel, Flexible time, being your own boss
Disadvantages: Money, Stress, Mania, Pace, Time.
Could you list a few benefits of freelancing & what made you want to start? (Archana Pat)
Money, Excitement, Travel, Flexible time, being your own boss It was an accident really, i just knew i didnt want to do a desk job.
Do clients always expect a lot from a freelancer? (Archana Pat)
Yes - you are expected to manage your time, be equipped with all the technology you need, to be punctual, to reply to all emails and answer the phone, make it to meetings no matter where / when,
What are the first things you need to consider and research before making the decision to go freelance? (Luke McNaney)
Do you have the determination? Do you love what you do enough to wake up every morning and work for yourself? Can you deal with having an unreliable income? Work out your monthly ins and outs on your business and personal accounts, know what you have to earn every month, and work hard to double it.
How do you establish a price for a job? (Archana Pat)
Good question. I usually ask the client to let me know their budget, then i tell them if its too low or too high. You have to be very honest. I don't have an agent, normally a freelancer would let their agent handle money agreements.
Do you think it is a risky career move or do you think there are more benefits as a freelancer? (Matthew Murphy)
It is definitely a risk, I would say you should only freelance if you have work whilst you are at school and you feel confident that it will continue to flow in. If not, work for a company part or full time, and go out and try to get freelance work at the same time, then you can choose either way.
How do you work out how much to charge clients? Should it depend on the type of client/company? (Matthew Murphy)
Depends on a million factors. My best advice would be to ask someone with experience for advice, as well as asking the client for their budget.
After setting your hourly rate, what other factors do you consider when pricing up the bill for a client?(Luke McNaney)
Labour, materials, running costs of your office, all the things that facilitate you to create work need to be considered. Even the place where you work, part of your home or your office need to be factored in.
What are the main factors you take into consideration what establishing a price for clients? (Hannah Whitmore)
Exposure, Time it will take to do the project, skill it will take to do the project and the image of the brand.
Having just started out as a freelance designer, what would be the first step to finding your first customers and building up a client base, would you suggest hiring an agent? (Luke McNaney)
You don't really "hire" agents, they come to you, its a very complicated agent. If you can find representation purely based on your talent, and not necessarily experience, yes that is great. Either way, you need to actively seek work, in every place you can imagine.
If you give a client a quote for a certain job, how would you deal with unforeseen expenses? (Luke McNaney)
You need to work up a basic contract, or even simple what is covered under the costs, unforeseen expenses need to be extra.
I recommend taking 50% upfront, and 50% on delivery, that way if you think they are being un realistic in extra work you will provide you can add it in. Some designers charge a daily / hourly rate on top for unforeseen circumstance. Mostly you will just end up working extra hard on certain things for the same money. It all depends on your client, your patience, and ability to communicate, compromise and adjust your work to suit them.
The financial and legal side are by the far the most unnerving aspects of going freelance to me, one thing I am most curious about is contracts. What is the basic process to creating a contract and what other situations would they be required for, apart from making sure that you will get payed for your work?
I didn't ever have contracts when I was working, this was daunting for me too. There are certain places you can download standard contracts from and tailor them, but they can be a little complicated. I learned the hard way, but 90% of the time the client was totally trustworthy. I would find another source who can help you with contracts, and refining the details of each job.
Don't forget to register as self employed, and get an accountant. They can explain all the ins and outs of the financial side to you and they should cost in the region of 200-300 pounds a year to file your Tax Return.
Opinions on free pitching?
Free pitching is a hard one. Even I still do it, as long as I am totally in love with the project, and the rewards are enough. Its a great way to test how brave you are, as you have nothing left to lose.
Advantages: Money, Excitement, Travel, Flexible time, being your own boss
Disadvantages: Money, Stress, Mania, Pace, Time.
Could you list a few benefits of freelancing & what made you want to start? (Archana Pat)
Money, Excitement, Travel, Flexible time, being your own boss It was an accident really, i just knew i didnt want to do a desk job.
Do clients always expect a lot from a freelancer? (Archana Pat)
Yes - you are expected to manage your time, be equipped with all the technology you need, to be punctual, to reply to all emails and answer the phone, make it to meetings no matter where / when,
What are the first things you need to consider and research before making the decision to go freelance? (Luke McNaney)
Do you have the determination? Do you love what you do enough to wake up every morning and work for yourself? Can you deal with having an unreliable income? Work out your monthly ins and outs on your business and personal accounts, know what you have to earn every month, and work hard to double it.
How do you establish a price for a job? (Archana Pat)
Good question. I usually ask the client to let me know their budget, then i tell them if its too low or too high. You have to be very honest. I don't have an agent, normally a freelancer would let their agent handle money agreements.
Do you think it is a risky career move or do you think there are more benefits as a freelancer? (Matthew Murphy)
It is definitely a risk, I would say you should only freelance if you have work whilst you are at school and you feel confident that it will continue to flow in. If not, work for a company part or full time, and go out and try to get freelance work at the same time, then you can choose either way.
How do you work out how much to charge clients? Should it depend on the type of client/company? (Matthew Murphy)
Depends on a million factors. My best advice would be to ask someone with experience for advice, as well as asking the client for their budget.
After setting your hourly rate, what other factors do you consider when pricing up the bill for a client?(Luke McNaney)
Labour, materials, running costs of your office, all the things that facilitate you to create work need to be considered. Even the place where you work, part of your home or your office need to be factored in.
What are the main factors you take into consideration what establishing a price for clients? (Hannah Whitmore)
Exposure, Time it will take to do the project, skill it will take to do the project and the image of the brand.
Having just started out as a freelance designer, what would be the first step to finding your first customers and building up a client base, would you suggest hiring an agent? (Luke McNaney)
You don't really "hire" agents, they come to you, its a very complicated agent. If you can find representation purely based on your talent, and not necessarily experience, yes that is great. Either way, you need to actively seek work, in every place you can imagine.
If you give a client a quote for a certain job, how would you deal with unforeseen expenses? (Luke McNaney)
You need to work up a basic contract, or even simple what is covered under the costs, unforeseen expenses need to be extra.
I recommend taking 50% upfront, and 50% on delivery, that way if you think they are being un realistic in extra work you will provide you can add it in. Some designers charge a daily / hourly rate on top for unforeseen circumstance. Mostly you will just end up working extra hard on certain things for the same money. It all depends on your client, your patience, and ability to communicate, compromise and adjust your work to suit them.
The financial and legal side are by the far the most unnerving aspects of going freelance to me, one thing I am most curious about is contracts. What is the basic process to creating a contract and what other situations would they be required for, apart from making sure that you will get payed for your work?
I didn't ever have contracts when I was working, this was daunting for me too. There are certain places you can download standard contracts from and tailor them, but they can be a little complicated. I learned the hard way, but 90% of the time the client was totally trustworthy. I would find another source who can help you with contracts, and refining the details of each job.
Don't forget to register as self employed, and get an accountant. They can explain all the ins and outs of the financial side to you and they should cost in the region of 200-300 pounds a year to file your Tax Return.
Opinions on free pitching?
Free pitching is a hard one. Even I still do it, as long as I am totally in love with the project, and the rewards are enough. Its a great way to test how brave you are, as you have nothing left to lose.
STARTING OUT
Should I do a freelance job for a low price because I am a beginner in freelancing? (Archana Pat)
Yes definitely. I worked ( and I still work for free = if its for a good cause), then I slowly built my budgets up. Now they are at a much higher rate, as its proportional to my (little) time, and the demand for my work.
Do you think it’s a good idea to specify what type of work you are prepared to do, or should you leave it broad? (Matthew Murphy)
Specify what you can do, if that is broad then thats awesome. If not, it doesn't matter. Never say you can do something you aren't confident you can do.
When do you realise this was what you wanted to do full-time? (Rory Mackie)
since i was about 15. All this work started to snowball, and now it really is my career! It all started with just a few jobs, for friends bands and record labels, who let me work for free. i guess i owe it all to them. the most important thing is that even 3 years on, i have kept those ties, i still work with caius, from young turks, as well all matty from white heat to mention a few.
After studying a BA Graphic Design degree at Camberwell, what did you do next? how did you get into industry? (Charlotte Cottam)
I had been freelancing throughout my time at Camberwell so I just continued doing that. Only this time I had more time to work on projects and actively seek and create the projects I wanted to work on.
Yes definitely. I worked ( and I still work for free = if its for a good cause), then I slowly built my budgets up. Now they are at a much higher rate, as its proportional to my (little) time, and the demand for my work.
Do you think it’s a good idea to specify what type of work you are prepared to do, or should you leave it broad? (Matthew Murphy)
Specify what you can do, if that is broad then thats awesome. If not, it doesn't matter. Never say you can do something you aren't confident you can do.
When do you realise this was what you wanted to do full-time? (Rory Mackie)
since i was about 15. All this work started to snowball, and now it really is my career! It all started with just a few jobs, for friends bands and record labels, who let me work for free. i guess i owe it all to them. the most important thing is that even 3 years on, i have kept those ties, i still work with caius, from young turks, as well all matty from white heat to mention a few.
After studying a BA Graphic Design degree at Camberwell, what did you do next? how did you get into industry? (Charlotte Cottam)
I had been freelancing throughout my time at Camberwell so I just continued doing that. Only this time I had more time to work on projects and actively seek and create the projects I wanted to work on.
ILLUSTRATION VS GRAPHIC DESIGN VS ART
Is there any reason why you decided to do both Graphic Design and illustration? (Racheal Stayman)
I love both of them, they are in some ways seamless, and in other way completely different. There is certainly more design involved with illustration than there is illustration in design. I enjoy playing the two off each other, and it creates interesting and dynamic projects. It also means there is a range and variation in the type of work I do. One day i could be designing a book, and the next day drawing on the ceiling somewhere.
How distinct do you think art and design are as disciplines – how would you define what makes your work one or the other? How would you place what you do? (Sarah Dawson)
Hmmm ... these boundaries are blurred more and more these days, so this is a hard one to answer. Art and Design are interchangable. I would call myself and artist/designer/illustrator its mostly just pigeon holing, it doesn't matter where people put you, you are still doing the same thing.
I love both of them, they are in some ways seamless, and in other way completely different. There is certainly more design involved with illustration than there is illustration in design. I enjoy playing the two off each other, and it creates interesting and dynamic projects. It also means there is a range and variation in the type of work I do. One day i could be designing a book, and the next day drawing on the ceiling somewhere.
How distinct do you think art and design are as disciplines – how would you define what makes your work one or the other? How would you place what you do? (Sarah Dawson)
Hmmm ... these boundaries are blurred more and more these days, so this is a hard one to answer. Art and Design are interchangable. I would call myself and artist/designer/illustrator its mostly just pigeon holing, it doesn't matter where people put you, you are still doing the same thing.
GRAPHIC DESIGN
In recent times it has become apparent that the creative communities have become more aware of the ethical issues of their work, would you say the priorities have changed? (Jane Cassells)
I don't think that this awareness is exclusive to the creative communities, ethical issues seem to be everywhere at the moment!
Do the viewpoints of older designers influence you? For example Milton Glaser claimed that "Good design is good citizenship." Do you agree? (Jane Cassells)
Older designers are my favorites! When I first started reading about design it was the masters that I followed. People like Alan Fletcher, drove me to study design. Most of all my biggest influences were creative people, who had conceptual ideas. Artists like, Sophie Calle, Rachel Whiteread, Architects like Daniel Libeskind, theorists like Josef Albers, and Johannes Itten.
Work that I enjoyed was work that had both a conceptual spine, and a considered aesthetic that represented its back story, and also lead the user down certain cerebral path. I loved the idea that design was communication, and the immense power that it posses. I forget this sometimes, and thankfully you have reminded me to keep this idea close in my mind whilst I get through my working day. It is easy to get caught up and forget. I have always said, that design is Science, and sometimes I think it is even more than that.
The First things First manifesto encouraged Graphic designers to put there skills to uses other than consumer products, do you think it was ever and viable way to live avoiding corporate work? (Jane Cassells)
I read through the manifesto recently, and obviously like most commercially employed designers, one gets rather defensive. Part of me understands the need for such and article, but part of me is also adamant that there is a need for commercial design, even if it is for dog biscuits or hair gel. I mean not that I buy either, but if i did have a puppy or a quaff hair-do (and as a design snob) I like the advertising around me to be smart and good looking.
I think that design should be inclusive not exclusive. But most of all, I am a consumer, and Graphic Designers seem to be some of the biggest gadget freaks, online shoppers and the rest. Like you mentioned, we all have to eat. Commercial work pays my salary, and helps me fund my record label, and the many interns, assistants, and contractors I employ. In my work I always hope to maintain an integrity and sensitivity in the consumer brands that I work with and for. Making sure the projects are progressive, and in keeping with my ethos.
As a practising designer do you feel it is appropriate to impose your own agenda (political/ethical or otherwise) into each project, or purely focus of the needs of the client? (Jane Cassells)
I don't think you should impose your ideas onto a project but instead make sure you chose work that you believe in. For example I have been asked to do numerous campaigns for alcoholic beverage companies, but each one I have turned down. Purely based on the fact that I don't drink, and I don't believe that alcohol should be advertised commercially.
What do you consider to be the professional attributes of a Graphic Designer? (Jane Cassells)
Hard working, curious, and energetic.
I don't think that this awareness is exclusive to the creative communities, ethical issues seem to be everywhere at the moment!
Do the viewpoints of older designers influence you? For example Milton Glaser claimed that "Good design is good citizenship." Do you agree? (Jane Cassells)
Older designers are my favorites! When I first started reading about design it was the masters that I followed. People like Alan Fletcher, drove me to study design. Most of all my biggest influences were creative people, who had conceptual ideas. Artists like, Sophie Calle, Rachel Whiteread, Architects like Daniel Libeskind, theorists like Josef Albers, and Johannes Itten.
Work that I enjoyed was work that had both a conceptual spine, and a considered aesthetic that represented its back story, and also lead the user down certain cerebral path. I loved the idea that design was communication, and the immense power that it posses. I forget this sometimes, and thankfully you have reminded me to keep this idea close in my mind whilst I get through my working day. It is easy to get caught up and forget. I have always said, that design is Science, and sometimes I think it is even more than that.
The First things First manifesto encouraged Graphic designers to put there skills to uses other than consumer products, do you think it was ever and viable way to live avoiding corporate work? (Jane Cassells)
I read through the manifesto recently, and obviously like most commercially employed designers, one gets rather defensive. Part of me understands the need for such and article, but part of me is also adamant that there is a need for commercial design, even if it is for dog biscuits or hair gel. I mean not that I buy either, but if i did have a puppy or a quaff hair-do (and as a design snob) I like the advertising around me to be smart and good looking.
I think that design should be inclusive not exclusive. But most of all, I am a consumer, and Graphic Designers seem to be some of the biggest gadget freaks, online shoppers and the rest. Like you mentioned, we all have to eat. Commercial work pays my salary, and helps me fund my record label, and the many interns, assistants, and contractors I employ. In my work I always hope to maintain an integrity and sensitivity in the consumer brands that I work with and for. Making sure the projects are progressive, and in keeping with my ethos.
As a practising designer do you feel it is appropriate to impose your own agenda (political/ethical or otherwise) into each project, or purely focus of the needs of the client? (Jane Cassells)
I don't think you should impose your ideas onto a project but instead make sure you chose work that you believe in. For example I have been asked to do numerous campaigns for alcoholic beverage companies, but each one I have turned down. Purely based on the fact that I don't drink, and I don't believe that alcohol should be advertised commercially.
What do you consider to be the professional attributes of a Graphic Designer? (Jane Cassells)
Hard working, curious, and energetic.
PROFESSION / WORK ETHIC
Is there anything you find really difficult about your profession? (Racheal Stayman)
Sitting at a desk, its destroying my spine. Self employment means you have to pay a lot of tax. I hate tax. Giving your hard earned money to the government is never going to be easy. I'm not looking forward to April this year.
Firstly, do you ever stop? Your catalogue of work and clients so far is completely intimidating, but what has been the most exciting project you’ve been involved with in the last three years? (Kirsten Cowie)
Hmm - most exciting was Cadburys, compared to the work I had had before this was a giant leap. It was a dream to do billboards, I think a couple weeks before I had said to my friend - " I really want to do a billboard" she was like, "Yeah right! Like thats going to happen" - but it did!
Would you say that you are a workaholic? (Rory Mackie)
no, but the first sign is denial right?
i am definately a workaholic. I am addicted to what i do. But isnt that the sign of a great job?
Sitting at a desk, its destroying my spine. Self employment means you have to pay a lot of tax. I hate tax. Giving your hard earned money to the government is never going to be easy. I'm not looking forward to April this year.
Firstly, do you ever stop? Your catalogue of work and clients so far is completely intimidating, but what has been the most exciting project you’ve been involved with in the last three years? (Kirsten Cowie)
Hmm - most exciting was Cadburys, compared to the work I had had before this was a giant leap. It was a dream to do billboards, I think a couple weeks before I had said to my friend - " I really want to do a billboard" she was like, "Yeah right! Like thats going to happen" - but it did!
Would you say that you are a workaholic? (Rory Mackie)
no, but the first sign is denial right?
i am definately a workaholic. I am addicted to what i do. But isnt that the sign of a great job?
PROCESS
What's your actual working process? (Rory Mackie)
sit down at my desk - get a bit of paper, sketch out a basic framework, pencil in some type or whatever it is i am drawing, and then go at it straight away with my pens, there is no point of being scared of it. never start again if something goes wrong, i like to work something until it is finished, even if that process i quite pain staking.i think you get a better result than starting afresh. I like to work little areas to perfection, and then spend time joining them together so that the whole thing looks obsessively detailed.
How much of a role does music play in your work, does it inspire you directly when you sit down to do a drawing? (Rory Mackie)
Music is my work partner. freelancing is a very lonely occupation, so music keeps me up, working, and focused. plus its the whole reason i got into this line of work so i owe it the biggest debt.
Do you go through the same working process with each client or does it differ from job to job? (Hannah Whitmore)
Usually its the same, think, talk, write, draw.
sit down at my desk - get a bit of paper, sketch out a basic framework, pencil in some type or whatever it is i am drawing, and then go at it straight away with my pens, there is no point of being scared of it. never start again if something goes wrong, i like to work something until it is finished, even if that process i quite pain staking.i think you get a better result than starting afresh. I like to work little areas to perfection, and then spend time joining them together so that the whole thing looks obsessively detailed.
How much of a role does music play in your work, does it inspire you directly when you sit down to do a drawing? (Rory Mackie)
Music is my work partner. freelancing is a very lonely occupation, so music keeps me up, working, and focused. plus its the whole reason i got into this line of work so i owe it the biggest debt.
Do you go through the same working process with each client or does it differ from job to job? (Hannah Whitmore)
Usually its the same, think, talk, write, draw.
Tuesday
THINGS THAT OTHER PEOPLE WROTE ABOUT ME
“Kate Moross seems to be able to turn anything she touches in 27 million carat gold”
VICE MAGAZINE
Dazed loves Kate Moross, but she makes us sick. Barely in her second decade of life, Kate has managed to build up, develop and promote her designs at a disarming rate. Something of a renegade among the youth of London, Kate has put in the hours and worked hard to get recognition, utilising her talent in ways that is seldom seen nowadays. May the Kate Moross empire reign supreme."
DAZED & CONFUSED
"What's most impressive is that Moross has initiated all of her successes. The figurehead for a new generation of internet-savvy, self-promoting and not least startlingly prolific young artists and designers...
"It's pretty big news for even the most established names in design to see their work on a nationwide billboard campaign, but when said billboard is proudly heralding its message outside the window of your second-year college tutorial, let's face it you're in a pretty mind boggling place. It's a place that barely-in-her-third-year Camberwell student Kate Moross has inadvertently found herself inhabiting, and if billboard fantasies (for Cadbury's no less) aren't enough, she can also scrawl a line through countless other not-in-your-wildest-dreams commissions, with the most recent being a range of signature clothing for Topshop, Crikey indeed."
GRAFIK MAGAZINE
"Using isometry and geometry as her inspiration, art school wunderkid Moross has been sketching the fine lines of indie for three years. Her love of all things numerical has sated the appetites of the likes of Klaxons and Animal Collective, clubs such as White Heat and labels like Crystal Castles' Merok, for whom she's variously design flyers, sleeves and tees, and Moross is now bleeding all these creative juices into her bespoke record label Isomorphs. A place for vinyl junkies to get their fix, each release is a limited edition in a boutique sleeve that harks back to the day when record covers where considered real pieces of art."
NME
"Kate Moross is something of an inspiration [her work] work is wonderfully varied in style, though invariably colourful and eye-catching, as she utilises hand-drawn elements, isometric and interlocking shapes and patterns, hand drawn illustration and also vector graphic work. Its is this combination of bright hues, painstaking design, hand drawn letter forms, and bold illustration that announces both her skill and confidence as an imagemaker."
CREATIVE REVIEW MAGAZINE
"Using isometry and geometry as her inspiration, art school wunderkid Moross has been sketching the fine lines of indie for three years. Her love of all things numerical has sated the appetites of the likes of Klaxons and Animal Collective, clubs such as White Heat and labels like Crystal Castles' Merok, for whom she's variously designed flyers, sleeves and tees, and Moross is now bleeding all these creative juices into bespoke record label Isomorphs. A place for vinyl junkies to get their fix, each release is a limited edition in a boutique sleeve that harks back to the day when record covers were considered real pieces of art. PE "
NME MAGAZINE // FUTURE 50 PEOPLE IN MUSIC
"Despite being barely six-months old, Kate Moross’ art-driven vinyl-only label has already raised the bar in terms of packaging and design. In an age of the faceless digital download, it’s hugely exciting to see such a young talent embracing the physical format with such vision and style. "
FACT MAGAZINE
"Kate Moross is big in the game."
DON'T PANIC
Kate Moross, remember where you heard if first, as this is one name you'll be hearing a lot of in 2008!"
TOPSHOP
VICE MAGAZINE
Dazed loves Kate Moross, but she makes us sick. Barely in her second decade of life, Kate has managed to build up, develop and promote her designs at a disarming rate. Something of a renegade among the youth of London, Kate has put in the hours and worked hard to get recognition, utilising her talent in ways that is seldom seen nowadays. May the Kate Moross empire reign supreme."
DAZED & CONFUSED
"What's most impressive is that Moross has initiated all of her successes. The figurehead for a new generation of internet-savvy, self-promoting and not least startlingly prolific young artists and designers...
"It's pretty big news for even the most established names in design to see their work on a nationwide billboard campaign, but when said billboard is proudly heralding its message outside the window of your second-year college tutorial, let's face it you're in a pretty mind boggling place. It's a place that barely-in-her-third-year Camberwell student Kate Moross has inadvertently found herself inhabiting, and if billboard fantasies (for Cadbury's no less) aren't enough, she can also scrawl a line through countless other not-in-your-wildest-dreams commissions, with the most recent being a range of signature clothing for Topshop, Crikey indeed."
GRAFIK MAGAZINE
"Using isometry and geometry as her inspiration, art school wunderkid Moross has been sketching the fine lines of indie for three years. Her love of all things numerical has sated the appetites of the likes of Klaxons and Animal Collective, clubs such as White Heat and labels like Crystal Castles' Merok, for whom she's variously design flyers, sleeves and tees, and Moross is now bleeding all these creative juices into her bespoke record label Isomorphs. A place for vinyl junkies to get their fix, each release is a limited edition in a boutique sleeve that harks back to the day when record covers where considered real pieces of art."
NME
"Kate Moross is something of an inspiration [her work] work is wonderfully varied in style, though invariably colourful and eye-catching, as she utilises hand-drawn elements, isometric and interlocking shapes and patterns, hand drawn illustration and also vector graphic work. Its is this combination of bright hues, painstaking design, hand drawn letter forms, and bold illustration that announces both her skill and confidence as an imagemaker."
CREATIVE REVIEW MAGAZINE
"Using isometry and geometry as her inspiration, art school wunderkid Moross has been sketching the fine lines of indie for three years. Her love of all things numerical has sated the appetites of the likes of Klaxons and Animal Collective, clubs such as White Heat and labels like Crystal Castles' Merok, for whom she's variously designed flyers, sleeves and tees, and Moross is now bleeding all these creative juices into bespoke record label Isomorphs. A place for vinyl junkies to get their fix, each release is a limited edition in a boutique sleeve that harks back to the day when record covers were considered real pieces of art. PE "
NME MAGAZINE // FUTURE 50 PEOPLE IN MUSIC
"Despite being barely six-months old, Kate Moross’ art-driven vinyl-only label has already raised the bar in terms of packaging and design. In an age of the faceless digital download, it’s hugely exciting to see such a young talent embracing the physical format with such vision and style. "
FACT MAGAZINE
"Kate Moross is big in the game."
DON'T PANIC
Kate Moross, remember where you heard if first, as this is one name you'll be hearing a lot of in 2008!"
TOPSHOP
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