KATE MOROSS FAQ + INFO BLOG

INTERVIEW WITH IT'S NICE THAT

2011-10-26T11:01:00.001+01:00

How do you explain what you do to your parents?
I don’t have to go into too much detail, I think they get it on the most part. They are part of the reason I do what I do, encouraged me in my career from a really young age.

Who do you look like?
A seven year old boy.

Did your education count?
Yes, but perhaps not in the most traditional way. It was more what happened around the learning that counted.

What’s the best mistake you have ever made?
I make too many to notice.

When did you realise that this is what you were good at?
Because I sucked at most other things in comparison.

What rules do you live by?
Hard work, and good behavior.

What makes your day?
A coffee from Kaffeine and a cigarette in the morning while ticking things off an ever-growing to-do list.

What did you want to be when you were growing up?
An inventor, I didn’t realise it at the time that that is basically what a designer is.

What one thing would you like to be remembered by/for?
Prolificacy.

What’s your favourite combination?
Pancakes, bacon and maple syrup.

To view the article and my recent guest posts click here.

2011-10-26T10:58:00.001+01:00

Recent Interview with Think-Work-Play

RECENT QUESTIONS

2011-10-26T10:52:00.002+01:00

Graphic designers such as you, are busy people. do you have any tips on stress? -

Work hard but not too hard. Take time off, go on holiday. Don't take your work home, try not to talk about it all the time, develop your hobbies and enjoy your free time.

What do you feel are the most important skills for a designer to have/develop? -

There are lots of important things you need to develop as a designer.

Know your software, and fill the gaps in your knowledge when you need to. As a designer you need to have a good grasp of the obvious softwares, and you should try and keep up to date. Lots of time spent working in Creative Suite on different projects should be good practice.

Print production and film are the two trickiest areas in my opinion. Preparing a document for print is meticulous and every printers specifications are different. Preparing a video can also have lots of problems with size, format compression etc... In order to help you it might be good to try to collate all the specifications for all the different outcomes and try saving your files and work to make sure you understand the various exports.

You should also focus on explaining and communicating your creative ideas. This will be really important when you start working with clients and you need to discuss projects. Having crits at school and with your peers will prepare you.

There are so many things that are important as a designer, professionally, understanding fees and finance, promoting yourself, I could go on for ages, but those would be my first three most important.

When your work first started to receive an influx of a lot more attention and requests for work, how did you cope with the change in pace and pressure? Did you feel much doubt or panic, or was it an easy progression you'd been waiting for? -

Great question Kairos27. I really struggled at first, it was exciting and also quite scary. I was worried that people started to get annoyed hearing my name or seeing my work, and I know over-saturation is the negative side to lots of publicity. No one wants to be old news. After Topshop and Cadbury's I actually left London for a few months and went to NYC to escape the pressure, not from people around me, but that I was putting on myself. I knew that I couldn't keep out doing my self so it was worth taking a step back from it all and having a little break. It was perfect. When I came back to London I started my studio and haven't looked back.

Every so often when it gets too much I just take that much needed time out, and forget about what I think I should be doing, and just enjoy some freedom.

Now I just make sure that I am constantly turning out work in lots of different fields so I can keep the momentum going and keep everyone on their toes. Its great fun to make a music video one week, design a watch the next, then paint a mural, or design an album cover. That freedom and ability to switch between fields is my favorite thing about my job.

When you are drawing, for the fun of it, do you plan out what your going to draw or do you just make stuff up as you go along?

I never really plan it, just sit down in front of a blank page and go for it. I have never really been precious about my drawings, I just think of them as sketches and scraps of paper. That way they don't intimidate me, and I can't mess them up. I make mistakes all the time, but just try and work them back into the picture somehow. That's a great skill to learn as an illustrator, how to hide your mistakes, and make them into happy accidents. I sometimes work in pencil, but I use a light box to trace the pen version so I am starting on a clean sheet rather than drawing on the paper version. Just in case I need to start again, I still have my original sketch to trace from.

3 SIMPLE QUESTIONS

2011-10-26T10:50:00.000+01:00

What is your favourite thing about being an Illustrator/designer?
That every day at work is different and I am in charge of my own time.

What would you say has been the biggest milestone in your career so far?
Directing my first music video for Simian Mobile Disco meant a lot to me, most people will think it was the Cadbury's campaign, I would say that was a close second.

What would be your advice to budding designers and illustrators?

Work hard, and as much as you can. Think about yourself as an athlete and drawing and designing as your training. You want to be in peak condition to prepare yourself for the commercial and art worlds.

Asked by Rosie Connell

SIMIAN MOBILE DISCO

2011-02-10T18:29:00.005Z

How did you come about to working with Simian Mobile Disco? 2010

I met SMD's manager Ollie in probably 2006 or 7. Ollie mentioned that the band were looking for some ideas for merchandise and T-shirt designs, after chatting about a few ideas we scheduled a time to meet the band. I went to see them at a show at Astoria (god its strange to think that place is closed now) it was apparent straight away that the band and I were definitely suited, they had amazing ideas, paralleled by a relaxed attitude and a confidence in me. Together we created the Attack Decay Sustain Release T-shirt series. At the start of 2009 I was approaching the year with a list of goals, one of which was to work along side a band for a full album campaign as an artistic director. That very same month, Ollie called me, and asked me to be just that. Working on the entire campaign for Temporary Pleasure was amazing, as well as the band they have an amazing record label, Wichita who awesomely created a lot of vinyl for the release and were happy with some of my more unorthodox packaging suggestions. Working on the SMD videos was definitely the highlight of the project, Synthesise (Co-Directed by Alex Sushon) is one of my best pieces of work even though it is lo-fi and we made it for virtually nothing. With three of the video's from that album under my belt, I have since gone on to be signed as a Director to Pulse, this is really exciting and I hope to make more left of centre music videos in 2011.

What is it that makes working with SMD interesting?

Jas and James are a dream client. They know what they want, and they know what they don't want. Within those parameters they have flexibility and interesting ideas. They think beyond "something that looks cool" and really focus on the concept and semiotic of the artwork. More than anything they appreciate the importance of design, and it's role in music, and alongside the rest of the team and all of the collaborators (and across all formats there were many!) they supported us and helped us create a really solid body of work.

DO YOU USE ILLUSTRATOR OR PHOTOSHOP?

2010-11-24T22:19:00.002Z

Both, I use Photoshop to tweak my drawings before I bring them into Illustrator. I spend most of my day in Illustrator I do all my tablet drawings and digital colouring using my Wacom Cintiq 21 UX which I use even more than my light box now! I still use Photoshop to apply interesting effects to flatter vector drawings, and for when I am integrating type with photography.

Ask Kate Moross a question....

Hi Kate i go UAL i changed from graphics to do more illustrating. How important is finding your own style? I thought it was good to have your own set way about illustrating because people can then recognise your work- but a tutor of mine last year said to

2010-11-08T02:00:00.001Z

That's a great question... Finding your own style is something that takes time and practice. It is something that develops over years. It is important to experiment with different techniques and methods. However, you will naturally illustrate in a certain way, it is hard to change how you draw, but it is easy to imitate styles you have seen before.

I wouldn't worry too much about style at this time. Just make work, and keep illustrating. You may find you enjoy doing type, pattern or portraits, landscapes, line drawing, digital, work with what you enjoy. I personally am not a literal illustrator, I love working with type, abstract shapes. I often get jobs that push my boundaries, and I may need to draw people or spaces or objects, which I work into my style and adapt to fit what I enjoy doing. Style is dangerous too, it can go in and out of fashion, date quickly etc... the most important thing is that your images have a quirk beyond aesthetic, maybe its humor, naivety, wit, maybe they have layered meaning, or stories hidden in the detail, or maybe they are super simple but execute the concept perfectly. It is these things that make an illustration more than just a picture.

Ask Kate Moross a question....

DO YOU TAKE ON INTERNS

2010-09-27T12:52:00.002+01:00

I do, but not often. If any one wants to apply for an internship please send an email with your CV and portfolio of work in PDF form. I tend to mostly call people in for specific projects so it's best to know your skill base. Plus you need to be able to get to London easily!

Ask Kate Moross a question....

Does all your work come through your agent? and what to you think of agency representation as to going solo with it?

2010-09-06T20:33:00.001+01:00

When I started my career I found all the work myself. Mostly through my friends and clients recommending me, also from a few press articles I did. I didn't get an agent to get more work per say, but to manage all the work that is coming in.

As advertising jobs become bigger they get more complicated with lots of formats and things that need to be negotiated on and understood. A good agent will be able to deal with these complexities, increase your projects fee's and be a liaison between you and the client. It's a great thing to have if you can find a good one. Breed have been amazing, and I don't know what I would do without them.

I suggest to most people not to get caught up on the agency question, as you can't really apply to be with them, they normally come to you. I would say work hard, pursue work, promote yourself. Make sure you have a good website, and a PDF portfolio you can tailor to clients who want to see work in more detail. I got away with just my website for about 3 years, but I have two portfolio's now with my agency, which travel all over the world.

If you do get approached by an agent there are lots of elements that you need to get right to succeed. Here are five bits of advice.

1. Not too many, not too few.
Some agencies have hundreds of artists signed up, some have just a handful. You don't have to think hard about the advantages or disadvantages of these two scenarios. Having lots of people on the books means they will perhaps spend less time specifically on you, but having a large roster will mean that they have many more job opportunities, even if you have to share the probability of getting that job with 90 other people. Small agencies allow one to one relationships between you and your rep. They may not get the same amount of work through the door, but you have less people to share it with.

2. What are the other artists like?
Make sure they are not too similar! This is very important, a conscientious agency will not sign too many similar people so that you don't have to compete with each other. Oh and I nearly forgot, make sure the vein of work of the other artists IS similar, as in genre. If you are the only illustrator amongst all graphic designers, or photographers, It may be that the agency have less experience in you field, as all of them are different.

3. Where are they based?
Some offices are just based in one territory and this can affect the influx in foreign job opportunities. Some have offices all over the world, but this may or not effect your work influx as certain territories are looking for different things. Look for someone that understands multiple markets so you can get work coming in from every continent. Its a big world out there!

4. Is it exclusive. Will every single job that comes in have to go through your agent? Outline this straight away. Perhaps you have existing clients you work for regularly that you want to keep that way. Discuss all of these details with your agency before you sign with them.

5. Last but not least, do you like the person you are talking to. This person is your representative, they talk to your clients for you, they help you earn your living. The most important thing is to trust your gut reaction, if it feels wrong, it probably is.

Ask Kate Moross a question....

What would you say is the most well known and popular piece or work that you have done?

2010-09-06T20:10:00.001+01:00

Probably my campaign for Cadbury's. At the time I was coming up my Sick Of Nature flyers were what most people recognised as my work. Nowadays I'm not sure what people like as I do so many different types of work in so many formats. Some people know me for my T-shirts others for my music videos, and some just from my drawing.

Ask Kate Moross a question....

A LITTLE PIECE OF ADVICE

2010-03-03T19:49:00.006Z

Hello You,

Thanks for visiting my FAQ.

If you are thinking about sending over some questions for your dissertations or school projects, please read the FAQ below, and edit your interview accordingly. You can also use all the useful links down the right hand side of this page to help you gather more information. There are press links, magazine and video interviews.

If you have a quick question, please feel free to use the RED Formspring question box on the right of the blog menu. I will be able to answer these faster, and replies will be posted back to this FAQ as well as to my Formspring account.

I get a lot of emails from people asking questions, and I strive to answer them personally, but you will make my response all the better if you can have a look through this website first.

I'm no journalist, but I am pretty experienced in answering questions. So I have put together the following guidelines to help you when preparing an interview. Not just for me, but for anyone you are reaching out to, the better your prepare, the better your results.

Tailor your questions to the person you are asking them to, research will help make your questions more intimate and provoke a better answer.
Limit yourself to around 10, some which may require a short fire answer, and others that might ask for a little more commentary.
Put your personality in your questions, people can tell if you care about their answer. Ask things you are interested in, don't be generic or safe, it's boring!
Ultimately it should be a conversation, but just in a more formal format. Ask questions that are in multiple parts, but be sure to separate them into individual sections so they don't get overlooked.
Check Spelling & Grammar! It's not the most important thing in the world, but it shows you care and that you have reread and considered what you are asking.
Most of all, don't be lazy. Whoever you are about to interview is about to spend their time helping you out with your research. So respect their time, and tailor your questions to suit them, don't make them repeat themselves.

The above points are a little rough around the edges, but they are important. I would really appreciate anyone that emails me with questions who has read through this. It shows you have what it takes to make it as a smart and professional person.

DOWN WITH LAZYNESS, here's to being a geek.

Kate

RECORD LABEL & MUSIC

2009-03-19T17:34:00.007Z

As a graphic designer, who do you feel about digital music? Do you feel your designs can carry the same weight on clothing and apparel as they would on vinyl?

Digital music is amazing, i use it everyday. Designs are different what ever surface they are on. Vinyl has a very different semiotic than CD, it has a whole history behind it. Plus its fragile, expensive, and normally better looking. You can't just put something on a record thats on a tee and vice versa you need to consider surface, print technique everythin in order to re appropriate your design to get it looking perfect.

Isomorphs seems to be mainly made up of more techno and electronic bands. Do you find that you generally just prefer this genre of music to others, or is it because you feel it more reflects the partial focus of the label on design? (Emma Twine)

Neither. All the bands are on the label because I loved them as people, enhanced by the fact they made amazing music, and they had passion and a vision. Those are the reasons. All the bands are totally different genres and from all over.

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!

Being a self-confessed vinyl enthusiast, what is it that you love so much about that particular record format? (Emma Twine)

Sounds great, looks even better, and lasts forever.

LONDON

2009-03-19T17:34:00.005Z

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.

UNIVERSITY

2009-03-19T17:33:00.004Z

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.

BEING A GIRL

2009-03-19T17:33:00.003Z

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

INSPIRATION!!! (NEVER USE THIS WORD!!!)

2009-03-19T17:32:00.012Z

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.

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

Most inspired by? (can be a person, a movement – or whatever collective of things you want)

Nothing in particular "inspires me". I absorb everything, somethings more influential than others. I am excited to travel the world, and learn more about the design industries across the globe.

PHOTOGRAPHY

2009-03-19T17:32:00.006Z

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.

THE INTERNET

2009-03-19T17:32:00.005Z

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.

WORK SPACE / STUDIO

2009-03-19T17:31:00.002Z

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.

TOOLS + TECHNIQUES

2009-03-19T17:30:00.008Z

Any special techniques you use in your work? Or how are you trying to pioneer the field of illustration / design?

No technique is special, I love working in every field in every way. I am happy to commission work, or get hands on and do it myself. My challenge is to be a jack of all trades, and a master of SOME!

Do you think you work better during the day or night? (Lana Hughes)

I used to work better in the night, but I switched my body clock around so now I work better in the day - when everyone I work for is awake, and therefor much more practical.

Do you have a favourite piece of equipment you use? (Lana Hughes)

Pens - glorious pens, all sizes and shapes and colours.

A lot of your work is largely geometric and cartoon-style. Have you or would you ever move towards realism in your work? (Emma Twine)

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.

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.

FEAR + ASKING FOR HELP

2009-03-19T17:29:00.007Z

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.

How do you stay positive? (Danielle Self)

Keep focused, ultimately every industry is competitive, don't worry about the people worrying about not getting jobs, let them worry - you just stay focused and work as hard as you can to build your portfolio whilst you are still at school. People who talk about how hard it is, tend not to bother trying. Once you are on the way, you'll be fine. Just spend your time developing your ideas, whether thats finding good typefaces to work with, building your own type faces, experimenting with colour palettes, or drawing. All those things will help you succeed. Most of all stay confident in what you do, and get stuck in.

COMMERCIAL WORK

2009-03-19T17:29:00.005Z

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.

STARTING OUT

2009-03-19T17:28:00.009Z

After studying a BA Graphic Design degree at Camberwell, what did you do next? how did you get into industry? (Claire 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.

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.

FREELANCING

2009-03-19T17:28:00.006Z

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.

ILLUSTRATION VS GRAPHIC DESIGN VS ART

2009-03-19T17:27:00.003Z

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.

Would you consider yourself for most a graphic designer?

Yes for most, but I am an Art Director too, and a illustrate as well.

GRAPHIC DESIGN

2009-03-19T17:22:00.002Z

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.

PROFESSION / WORK ETHIC

2009-03-19T17:21:00.003Z

Does your passion pay the rent?

For sure it does, at home and at the office!

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?

PROCESS

2009-03-19T17:20:00.003Z

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.

THINGS THAT OTHER PEOPLE WROTE ABOUT ME

2008-10-14T10:49:00.008+01:00

“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