Computer Arts - April 2019

FYNE WORK BEHIND O STREET’S REDESIGN OF A CRAFT ALE COMPANY DESIGN ISSUE 290 INDUSTRY ISSUES MATTERS APRIL 2019 FIGHTING FOR ‘%((“DB %(( 64=34A4@D0;8CH PRINTED IN C74D: MEET THE CREATIVES BRINGING BALANCE TO THE DESIGN WORLD ILLUSTRATOR HOTLIST 2019 THE BEST ILLUSTRATORS TO WORK WITH INCLUDING COVER ARTIST MAX GUTHER BRANDING FREE FROM CLICHÉ EXPERIMENTAL CONFORMITY Explore Great Design’s fresh new identity for Studio Mut reveals how it pushes a dental health range rooted in innovation boundaries by exercising control



APRIL 2019 COVER ARTIST Making Left: To achieve maximum the cover impact from our sand texture spot UV (pink) we As soon as we saw Max Guther’s wondrously detailed, decided to apply a second, atmospheric beach scene, we knew this was the image gloss UV to everything else we wanted for our Illustrator Hotlist cover. Maybe that wasn’t sand (blue). we’re feeling prematurely summery (we’re only just An extremely exacting job getting glimpses of spring sun as we go to press), but for our printers. We also it already feels like we could do with a break, and applied a copper foil to the Guther’s hyper-real slice of relaxation felt like a perfect headline, just to be flash. pace change after a couple of up-front cover designs. Interviewed in our article (see page 56), Guther told us how he loves creating large scenes that are full of tiny details, and part of what we loved about this art was how it compels you to pull the cover right to your eyes so you can inspect every lovingly rendered detail. And it’s these details – discarded sandals, a bottle of sun cream, a stray beach ball – that give his rendered images the impact of real family photographs, the sensation of a moment in time recalled. We were also delighted to have the opportunity to test a new sand texture spot UV that our ingenious friends at Celloglas have recently perfected. What better way to celebrate… spring? Guther’s cover image was originally commissioned by Texel Brewery, which crafts beers from the balmy island of Texel, off the coast of Netherland. Watch the special spot UVs being applied by our print finishing partner Celloglas, as well as many of our other special covers, at www.bit.ly/ca-printfinishes MAX GUTHER A 26-year-old Berlin-based illustrator, Guther has worked for an impressive roster of clients including The New Yorker, GQ, Wired and ZEITmagazin. www.maxguther.de C O M P U T E R A R T S . C R E AT I V E B L O Q . C O M -3-

WELCOME APTIL 2019 Editor’s letter FEATURING We’re constantly trying to answer – or at HASHMUKH KERAI the very least explore – the question of what makes good design. And what with Motion designer and 3D artist Hashmukh Bauhaus enjoying its 100th anniversary this Kerai has found time in his busy year (more on that next issue), and seeing its schedule to produce a guide for aspiring perennial influence on design today, there freelancers. More details on page 18. are at least a handful of tenets that most of www.hashmukh.com us can agree on. LAURA JORDAN BAMBACH Not so with illustration. In fact, it’s sometimes hard enough to agree on what Mr President’s chief creative director illustration is, let alone whether it’s good or Laura Jordan Bambach is one of the not! Take Max Guther’s cover art. Did you founders of creative network SheSays. think ‘illustration’ when you saw it? (I mean, Find out what impact it’s had on page 38. once you had got past the really big, copper- www.weareshesays.com foiled word ‘Illustrator’?!) MORAG MYERSCOUGH In this issue we showcase 16 of our favourite illustrators working today, from all over the Wondering if a public space near you has world, and they’re a mixed bunch of extreme been enhanced by Morag Myerscough? talent. Watercolour, airbrush, 3D, Photoshop A wealth of colour and geometric shapes and good old-fashioned pen and paper – no are the usual clues. See more on page 48. matter what tools they use to create their www.studiomyerscough.com work, they’re all linked by their individual take on commercial illustration, and they all EMILY GOSLING prove that contemporary illustration is in rude, diverse health. Freelance writer and regular Computer Arts contributor Emily Gosling jumped at As ever, if you have strong – or even overly the chance to talk to this year’s leading mild – opinions on contemporary illustration, illustrators. The hotlist starts on page 56. or any other important topics covered in the www.emilygosling.com mag, *cough* Fighting Gender Imbalance *cough*, please get in touch! BEREN NEALE SAVANNA RAWSON Editor [email protected] There’s a critical imp on her shoulder of full-time freelance creative Savanna Rawson. Turn to page 98 to discover how journalling helps her to silence the beast. www.savannarawson.co.uk KEEP IN TOUCH WITH… @computerarts /computerarts @computerarts /computerartsmag C O M P U T E R A R T S . C R E AT I V E B L O Q . C O M -4-



APRIL 2019 FUTURE PUBLISHING LTD INTERNATIONAL MEET THE TEAM Quay House, The Ambury, Bath, BA1 1UA Computer Arts is available for licensing. BEREN NEALE EDITORIAL Contact the International department to discuss partnership opportunities. EDITOR Beren Neale Matt Ellis International licensing director Beren has been having loads of fun working with Mark Editor [email protected] and Zach Leiberman for this year’s new Brand Impact [email protected] Awards look (see page 47). It’s been mesmerising and SUBSCRIPTIONS computer-crashing. Mark Wynne Art editor Email: [email protected] MARK WYNNE [email protected] UK order line and enquiries: 0344 848 2852 International: +44 (0) 344 848 2852 ART EDITOR Cliff Hope Online: www.myfavouritemagazines.co.uk Like every right-thinking Guardian reader with a love Operations editor Sharon Todd Group marketing director, of culture, our art editor nodded in agreement at the cliff[email protected] magazines & memberships disparaging reviews of the new Jeff Koons exhibition whilst secretly cooing “Oooh, shiny balloon rabbit!” CREATIVE BLOQ CIRCULATION CLIFF HOPE www.creativebloq.com Tim Mathers Head of newstrade [email protected] OPERATIONS EDITOR Kerrie Hughes Cliff also works on our sister creative title ImagineFX, so Editor PRODUCTION he’ll be right at home poring over the work of talented designers as he is with artists who paint cyborg dragons. Ruth Hamilton Mark Constance Head of production, US/UK Just as long as he doesn’t get the two mixed up… Associate editor Clare Scott Production project manager Joanne Crosby Advertising project manager KEY CONTRIBUTORS Rosie Hilder Jason Hudson Digital editions controller Operations editor Steve Wright Digital edition coordinator GARRICK WEBSTER Vivienne Calvert Production manager Dom Carter FREELANCE WRITER Senior staff writer SENIOR MANAGEMENT Subtitled Scandinavian crime shows are mainly what Garrick watches on television. He’s so into them he MANAGEMENT Aaron Asadi Chief operations officer gets confused when there’s no text on the screen, Paul Newman Group content director even though the characters are speaking English. Claire Howlett Matthew Pierce Brand director, Acting group editor-in-chief creative and photography ROSIE HILDER Will Shum Greg Whittaker Head of art and design Senior art editor Dan Jotcham Commercial finance director OPERATIONS EDITOR, CREATIVE BLOQ Dave Harfield Rosie enjoyed interviewing the Italian design duo Head of editorial operations Printed by: William Gibbons & Sons Ltd. Studio Mut. She was hoping her Spanish knowledge Finishing partner: Celloglas Ltd would help her converse in Italian, but sadly the words CONTRIBUTIONS ‘gelato’ and ‘ciao’ didn’t get her very far. Distributed by: Tanya Combrinck, Damien Fisher, Ritam Marketforce, 5 Churchill Place, Gandhi, Emily Gosling, Ruth Hamilton, Rosie Canary Wharf, London, E14 5HU Hilder, Hashmukh Kerai, Jennifer Livaudais, www.marketforce.co.uk Tel: 0203 787 9001 Tom May, Greg Quinton, Savanna Rawson, Joe Stone, Garrick Webster We are committed to only using magazine paper which is derived from responsibly All copyrights and trademarks are managed, certified forestry and chlorine- recognised and respected. free manufacture. The paper in this magazine was sourced and produced from sustainable ADVERTISING managed forests, conforming to strict environmental and socioeconomic Media packs are available on request. standards. The manufacturing paper mill holds full FSC (Forest Stewardship Clare Dove Commercial director Council) certification and accreditation. [email protected] Next issue on sale 29 March 2019 Mike Pyatt Senior advertising manager 01225 687538 [email protected] Want to work for Future? 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CONTENTS ISSUE 290 APRIL 2019 CULTURE INSIGHT PROJECTS 10 TRENDS The Akin’s annual Changemaker Report identifies 20 ESSAY current consumer trends – information that’s Ritam Gandhi on future-proofing the invaluable to brands. Will you act on its findings? design industry as Brexit looms 1 4 MY DESIGN SPACE 2 2 DISCUSSION When West Yorkshire studio Fishtank started to What do you enjoy most about feel a little cramped, the hunt was on to find new running your own business? premises. Turns out it didn’t need to look far… 23 COLUMN 16 EVENTS Apply green sensibilities to your This year’s OFFSET is aiming to be bigger and better brand, encourages Marianne Waite than ever. There’s even going to be a fringe festival! 24 REBRAND 1 8 INSPIRATION FEED How did the refresh of WWP go down Hashmukh Kerai has found time between his with three experts in the field? motion design and 3D work to compile a guide for would-be freelancers, based on his experiences 8 0 FYNELY CRAFTED REDESIGN Design studio O Street tapped into the working farm ethos of Fyne Ales for its rebrand of the brewer 8 6 EXPERIMENTAL ENDEAVOURS Discover what happens when Italian Studio applies Bauhaus sensibilities to all of its client work 9 2 CROWNING ACHIEVEMENT Great Design’s packaging work for dentist Dr. Lhotka oozed quality and a sense of the desirable C O M P U T E R A R T S . C R E AT I V E B L O Q . C O M -8-

SPECIAL REPORT CONTENTS INDUSTRY INSIGHT 56 ILLUSTRATOR HOTLIST 2019 38 FIGHTING FOR Discover the stand-out artists who, time and time again, have demonstrated GENDER EQUALITY they have the power and skills to captivate the viewer with a single image Learn about the range of measures creatives are taking to help bring balance to the design industry – and what work still needs to be done SHOWCASE 2 6 SUBLIME STUFF! We look at the latest design projects from the global design scene, including Omelet’s colourful rebrand IN CONVERSATION 48 MORAG MYERSCOUGH We speak to the London artist whose brightly coloured geometric designs have brought happiness to people up and down the country 36 SUBSCRIBE AND RECEIVE A REGULARS PAIR OF WIRELESS HEADPHONES 9 8 DESIGN INSPIRATION You’ll also save up to 56 per cent off the cover price when you subscribe! Savanna Rawson on how her journal helps to silence her critical imp C O M P U T E R A R T S . C R E AT I V E B L O Q . C O M -9-



TRENDS TRENDS why brands need to listen to changemakers Global consultancy The Akin spells out the benefits of engaging with the influencers of society changemaker has many attitudes. Many have mixed 62 per cent feeling they should Above: Co- feelings and contradictory ideas, have to offer repair services. founders of A names: early adopter, becoming walking idiosyncrasies The Akin, progressive consumer, and, therefore, living in a state CONTEXTUAL Sarah Johnson influencer or even hipster. It is the of ambivalence. Acceptance of and Anna Lisa powerful, consumer group that difference is an integral part of the In this age of pseudo news, Lappenküper, drives change. If a brand gains changemaker DNA, with 68 per relevance and the availability of compiled the advocacy with this group then it cent saying their identity is formed context is vital. Review culture Changemaker won’t be long until the mass by experiencing cultures different is growing and changemakers Report. market follows. to their own. As these cultural ideas demand perspective as well as However, this group is also the permeate, flexibility in overcoming a range of personal opinions. Left: People hardest to understand. It evolves contradictions is needed. Amazingly, 52 per cent struggle have a greater constantly and sometimes in no Changemakers know this, with to differentiate between fact and need for context logical manner. It remixes its 92 per cent saying that flexibility opinion. Further to this, 76 per cent during the age of identities depending on mood, is important to them. This is both of changemakers agree that a lack pseudo news and environment and even time of positive and progressive. By being of context is frustrating, with 66 per misinformation. day. For this reason, the best way flexible in their beliefs, they are cent feeling most advertising is out to define changemakers is by their blurring divisions and populating attitudes and values. Understanding the grey, middle area. this is key to any brand wanting to engage with them. CIRCULAR Our annual Changemaker Report, which we have been doing Issues such as the environmental for two years, explores this growing impact of plastic are becoming consumer group. Based on robust important to both consumers and data from eight countries and 1,800 brands, with many attempting individuals, it provides a moment ‘net positive’ strategies: putting as to stop, assess and define cultural much into society as they take shifts as well as track the creation out. Changemakers are at the of movements. Whether these forefront of this and are willing to movements are caused by a tweet let it influence their purchasing from Kanye, a Netflix documentary, decisions. Eighty five per cent are a lyric or a piece of art, they always likely to switch brands based on stem from changemaking. The their material uses and 84 per following attitudes demonstrate the cent would do so based on their ways this group are living now and manufacturing processes. They are how this will develop in the future. beginning to explore philosophical and social ideologies such as AMBI closed-loop systems, with 48 per cent actively avoiding retailers Living in an uncertain world who promote fast-fashion, and has mutated changemakers’ C O M P U T E R A R T S . C R E AT I V E B L O Q . C O M - 11 -

CULTURE APRIL 2019 Above: People of context. Brands who try to hide strive to do so) and brands need to often issues associated with the are realising information or divert attentions will be on this journey with them. older generation, but our research that real luxury be penalised by changemakers. shows that even those who are is freedom and IDEOLOGICAL socially connected can feel alone the privilege of GROUNDED with 41 per cent saying they felt making a change. Anxiety in the developed world is lonely in the past week. In fact, 55 We live in a perpetual thirst trap often caused by the dizziness of per cent believe loneliness is one of Right: where notifications distract and the freedom. When we have too many this era’s biggest issues. Recognising Changemakers blue light keeps our eyes addicted options, we stress about making the this is leading changemakers to are striving to shiny screens. For changemakers, right decision. Changemakers are utilise coping mechanisms both for presence, this level of connection to devices at a watershed moment where they online and offline, with 70 per cent bringing is now unsustainable, with 87 per are recognising their power, but stating brands and society should themselves back cent of social media users saying also the responsibility this brings. work harder to help people feel into the moment. they would consider quitting. Fifty four per cent agree that luxury connected and supported. When looking at the reasons why, is a privilege, and 68 per cent want ‘connecting more with people in to use their privilege for good. CONCLUSION real life’ (34 per cent) comes out on top, followed by ‘being able to ROMANTIC With a constant bombardment spend time more valuably’ (31 per of notifications, changemakers cent) and ‘being more present’ (30 After a decade of swiping, are navigating their lives using per cent). They don’t want to live changemakers are nostalgic for apathy, hoping for romance and their life through a screen, instead romance, with 67 per cent saying acknowledging that vulnerability is valuing living in the here and now. they would rather meet a partner a strength. This group are searching in real-life than on a dating app for their purpose and ways to make HUMANIST and 50 per cent believing we are a positive impact. Most importantly, losing the art of romance. While they expect brands to be on this We now live in two worlds: the online networks are changing how journey with them. physical and the digital. Society has people meet and flirt, over 25 per made huge leaps in technology, cent of the adult world are single The above attitudes will impact but at a cost. Seventy one per by choice. This new cohort aspire changemaker behaviour and brand cent of changemakers worry we beyond the 2.4 goals of previous strategies across industries such as are losing our humanness and 85 generations and many brand beauty and care, fashion, finance, per cent are finding that the more messages fail to represent this. food and drink, health and wellness, technology improves, the more they media, retail, technology and want to interact with real people. VULNERABLE travel and hospitality. To explore For this group, it has never been how, please download our more important to improve their Changemakers are getting high on 2019 Changemakers Report at emotional intelligence (90 per cent notifications, but craving company. www.theakin.com/reports. Loneliness and vulnerability are C O M P U T E R A R T S . C R E AT I V E B L O Q . C O M - 12 -



AUGUST 2018 Fishtank is a digital marketing agency and web design studio based in West Yorkshire with a client base that spans the world. It was founded 10 years ago by managing director Damien Fisher. www.fishtankagency.com MY DESIGN SPACE FISH NEXT TO WATER Damien Fisher’s search for new premises for his growing studio Fishtank took him practically next door arly 2017 I made the decision opportunity to arise. After looking at and installations. We love that our space several converted mills and factories has a creative past and is a conversation E to relocate. We needed new within a five-mile radius of the town, starter with our clients, continuing its premises because the business we eventually found the new home for heritage as a hub of innovation. was growing. The challenge was to find Fishtank, which was just a stone’s throw a modest space with character and lots away from our existing location. The open space that surrounds the of natural light. However, we were building is simply idyllic and is viewable reluctant to move too far from the Our studio now lies within a historic from all aspects of our studio. Our waiting West Yorkshire town of Mirfield, with textile mill, set within beautiful woodland area, featuring our bespoke fishbowl chair its amenities just a short walk away and alongside the river that powered the (1), ensures clients are met with a warm and direct train routes to Leeds, London mill many years ago. Shortly after we and welcoming feel, making their and Manchester. moved in we discovered that our space journeys to meetings worthwhile. With these objectives in mind we now was often used by the local universities Lunchtime walks among the needed to remain patient for the perfect and colleges to showcase art collections neighbouring fields and woods help the COMPUTERARTS.CREATIVEBLOQ.COM - 14 -

AUGUST 2018 PEOPLE 1 2 3 team take a step away from their screens Our library contains books, posters 4 and enjoy our beautiful location (2). and industry journals that covers the 5 team's wide areas of interest, but our The studio houses a range of design favourite remains a handwritten letter (5) pieces (3), curiosities and items of interest from Chicopee, a long-standing partner supplied by each team member. Plants based in the Netherlands, thanking us for throughout the office make the journey all our service and support over the years. from the rural surroundings to inside the It's beautifully illustrated, too. studio seamless. The star of the show is our company sign (4) made from Cor-Ten I pride myself on being organised, or weather-resistant steel. This is the same at least I try. You can always find an iPad material used by architect and artist and notebook at my desk, full of ongoing Antony Gormley to construct the iconic project notes and most of all, ideas to Angel of the North. make us an even better agency. C O M P U T E R A R T S . C R E AT I V E B L O Q . C O M - 15 -

EVENT REPORT off to the races Dublin’s OFFSET event has expanded its OFFSHOOTS session and now has its own fringe festival elebrating its 10th consecutive go this year, the team behind the event comes from a perfectly curated line-up. has recently been getting the kudos that Getting, according to the directors, C year on 5-7 April, OFFSET it deserves, with directors Lisa Haran “disruptors and genuine influencers in Dublin 2019 promises more and Bren Byrne recently receiving the their field – the creative force behind of what has made it an annual design IDI Presidents Award for Outstanding everything from huge global campaigns highlight – exceptional insight and Contribution to Design at this year’s to awe-inspiring personal projects,” Haran inspiration from leading creatives from IDI Irish Design Awards. and Byrne have produced a delightful mix various disciplines, all imbued with an of talks and workshops that capture the electric Dublin spirit that’s impossible It’s fitting to see the pair gain industry striving nature of modern design. There to counterfeit. In setting and scope, recognition. With each year filled with promises to be, as in previous years, it’s an event that will stay with you competing creative events, it takes more a mix of genuine smiles and steely all year round. than a cool venue and a novel angle to determination to push the envelope, And just in case you wanted further make a bona fide classic conference. It’s which is hard to resist. proof that you’ll be in good hands if you all about that hard-to-define magic that COMPUTERARTS.CREATIVEBLOQ.COM - 16 -

APRIL 2019 EVENTS IN OTHER NEWS… Brand Impact Awards 2019 www.brandimpactawards.com Computer Arts’ very own design event returns to London once again this September, to announce the very best in branding from studios around the world. Call for entries is open now, and closes on 31 May, so there’s plenty of time for agencies to enter their work, and put themselves in with a chance of receiving an award. As ever, The Brand Impact Awards are judged in two distinct streams – Branding Programmes and Branded Campaigns – and according to sector, with 24 different categories including fashion, sport, entertainment, culture and not-for- profit. This means that the work will be judged within the category that it was designed for, alongside other pieces of that nature. OFFF Barcelona www.offf.barcelona Top: Work by Ariane Spanier, who’s a main stage speaker. Above: Crowds from last year’s event. OFFF Barcelona runs from 25 to 27 April, and brings together its speakers through conferences, This year’s lineup looks impressive, with a perfectly pitched start of each day of the workshops, activities and performances, held in the confirmed main stage speakers including three-day event. gorgeous Museu del Disseny de Barcelona. the likes of Lance Wyman, Yuri Suzuki, Ariane Spanier, Joe Caslin, Anna Leading up to the main event, you With all early bird tickets sold out at the end of Ginsburg and Aaron Duffy. And following can also expect OFFSITE this year – a last year, the event has already promised exclusive the success of last year’s OFFSHOOTS, week-long fringe festival taking place in insight from a range of creatives, including Abby which ran on the first day, this year will various locations across Dublin. Sold as Beck, a senior product designer at Google for the extend the session to all days of the event. a precursor to the main event, and in the Accelerated Mobile Pages (AMP) team plus key Joining forces with the Facebook art aim of opening up OFFSET’s key concerns UX engineers, who will be introducing the idea of department, the directors have booked a to a wider audience, you can expect user experience engineering (UXE) to one and all. dozen multi-disciplinary creatives to hold creative workshops, exhibitions, tours and 15-minute talks on specific projects and installations. Check the website for further Elsewhere, James Victore will return to the topics that get them creating. It’s set to be details on OFFSITE and the final lineup. festival with a new talk about Feck Perfuction, his www.iloveoffset.com latest book about optimising creativity, while there will also be a screening of the documentary film Rams, by Helvetica director Gary Hustwit about legendary designer Dieter Rams. C O M P U T E R A R T S . C R E AT I V E B L O Q . C O M - 17 -

CULTURE APRIL 2019 INSTANT INSPIRATION shaping the future Freelancer Hashmukh Kerai is giving something back to the design community “I’m a motion designer and 3D artist from east London. My background’s in film and VFX, but found that the design side of creating was more for me. I bounce from clients to agencies, freelancing as I’ve done for over five years now, straight out of university. “My inspiration comes from anything and anywhere, but the most important thing is colour. Most design nowadays can be dark and simple, but injecting colour into my work makes it a lot more fun and welcoming. I like to push the boundaries of my 3D work so you can look at it and think, ‘That could be real.’ But it’s also a bit surreal, enabling me to create some whacky compositions using simple shapes. “I'm working on a free freelancer guide for young designers or people wanting to take their first plunge into working for themselves. I’ve learnt a lot in my short career and want to share my journey to hopefully inspire others to do the same. Giving back is important when helping to enrich the design community, and making sure we’re creating the best and most enjoyable work possible.” @hashmukh C O M P U T E R A R T S . C R E AT I V E B L O Q . C O M - 18 -



INSIGHT APRIL 2019 OPINION MATTERS INSIGHT Strong opinion and analysis from across the global design industry ESSAY Sourcing good tech talent for your start- up in 2019 Ritam Gandhi posits how to be attra up-and- coming designers amid the backdrop of Brexit RITAM GANDHI Director and founder, Studio Graphene www.studiographene.com C O M P U T E R A R T S . C R E AT I V E B L O Q . C O M - 20 -

APRIL 2019 RITAM GANDHI et’s face it – 2019 is, by all accounts, set Overall, the difficulty in finding employees with L to be a defining time for start-ups across the right skills and, more importantly, mindset to the country. The ongoing political melodrama of Brexit has intensified over the past operate within a small business environment affects couple of months, and despite the official withdrawal date of 29 March, business leaders are a significant number of the UK’s start-up community. still no clearer on how this political and economic transition will be managed. The challenge, therefore, is to deepen the talent Should this be a cause for concern? While it does make it difficult for small companies to plan ahead pool of skilled professionals in the UK, be it through for the future, it’s important not to overlook the UK’s established presence as a hub for innovation dedicated training programmes, apprenticeships or and entrepreneurship. The country is still Europe’s leading destination for global tech investment, with incentives designed to attract skilled migrants from the tech industry here surpassing £180 billion in value as of June 2018. overseas. Admittedly, the latter may prove increasingly Similar observations can be made of the creative industries – a sector that employs over three million difficult against the looming backdrop of Brexit. people in businesses ranging from design studios to graphic design, advertising and marketing. Another more immediate and cost-effective This thriving community of businesses contributes more than £100 billion to the UK economy. To solution is for start-ups to consider the advantages put this into perspective, this is the equivalent of £11.5 million every hour. that arise from outsourcing the technical and digital As someone who works closely with start-ups and business leaders within this sphere, I have no aspects of their business to companies that specialise doubt that the UK’s leading creative industries will continue to inspire confidence and retain in tech, rather than keeping everything exclusively their global reputation for talent and innovation. However, as we look forward to the next 12 months, in-house. This can help forge new relationships small- and medium-sized enterprises (SMEs) and certain start-ups need to ensure they’re positioned and encourage entrepreneurs to consider new to address potential challenges while also taking advantage of any opportunities that may arise. This opportunities and ideas. holds particular relevance for start-ups based in the creative industries. As we prepare for 2019, companies large and small Over the course of 2018, we at Studio Graphene conducted a number of surveys among should be on the hunt for ways to take advantage entrepreneurs and start-up leaders to learn more about some of the common challenges that were of tech innovations. We all know that keeping up preventing them from growing. These surveys provided an important snapshot of the UK’s start-up with the latest trends ensures community, and given the uncertainty surrounding Brexit, these challenges will remain important issues businesses can stay ahead “The challenge is to deepen during the remaining months until we officially of the curve, but it’s also the leave the European Union. Surveying over 100 start-up founders in the best method to reap the many the talent pool of skilled UK, we found that access to skilled workers was a benefits of continuing digital prevalent obstacle. One in three founders felt that there was a shortage of digitally skilled workers in disruption. professionals in the UK, be it the capital. Moreover, when it came to competing And for those in the creative with larger companies, start-ups also struggled to entice the right type of employee: 35 per cent of industries who fear they lack via training programmes, founders said they found it difficult to attract talent the technical knowledge and from larger companies. industry know-how to embrace apprenticeships or incentives tech solutions effectively, they can take comfort in knowing designed to attra skilled that there are plenty of avenues of support they can turn to for migrants from overseas” a helping hand. In larger cities such as London, for instance, experts and agencies are readily available for those looking to outsource the technical and digital aspects of a business instead of keeping everything in-house. Not only is this a great way to free up precious resources, but it also gives creative companies time to focus on other important aspects of the business. Given the UK’s palpable entrepreneurial spirit and impressive resilience, 2019 is set to be cemented as an exciting year for the country’s start-ups and scaling businesses. With Brexit on the horizon, there will be a set of new challenges and opportunities, but it’s clear that the UK is well positioned to hold its place a global leader in the creative industries. Will creative start-up companies stand a chance at sourcing enough new talent post-Brexit? Tweet your thoughts to @ComputerArts using #DesignMatters C O M P U T E R A R T S . C R E AT I V E B L O Q . C O M - 21 -

INSIGHT APRIL 2019 DISCUSSION What do you enjoy most about running your own creative business? JENNIFER MOSS ANNUKKA LEPPÄNEN GRACE ABELL AND STEFANIE KEGEL Designer and teacher Freelance designer Co-founders, The Geekettez www.annukka.info www.abelldesign.co.uk www.thegeekettez.com “The thing I enjoy most about running “I’m pleased to be achieving the work/ “Running your own studio is both the my own design business is that I get to life balance as a working mum. My day best thing and toughest task ever, work on diverse projects. This is good, because I tend to get bored easily. Yes, it rate comfortably covers the cost of especially when it comes to finding the can also make life stressful, but on the childcare, which regular employment right balance between securing the projects and clients you want and whole it’s great to be able to switch would make difficult. between, say, a website development and A mid-weight designer earning £25k will getting your bills paid. But being able to make our own decisions and thus shape an illustration job; to do one thing in roughly have a daily take-home pay of the morning, and something else for the £65. The cost of childcare starts at £45 your own studio and client base per day. Spending eight hours away from outweighs any risks we might take. rest of the day. your most loved, working for the client I also teach in three schools, and to stay A few examples? We shape our you most hate. To come home with communication and portfolio to attract on top of things I have to study enough cash for an evening of hedonism clients and projects we enjoy working constantly. Learning new stuff is maybe on. We evaluate our strategic direction at Wetherspoons might not exactly the best part in being my own boss. feel worthwhile. at least once a year and update Finally, it’s a bonus to be able to work a accordingly. We have the flexibility and lot from home. On most days, our two However, a freelancer’s day rate is plump freedom to do this because we decided chihuahuas don’t need to be left alone. enough to comfortably cover childcare. I can focus on my work better than in we wanted to stay small. The lifestyle offers the flexibility of We do not have any employees, but an office where there’s lots of people being there for the kids when they really instead work with our network of and hassle. And I can also arrange my need you. Such as the school run, sports experts when taking on larger projects, day and the creation of a mind-blowing which keeps the client’s costs down.” hours how I want.” Gruffalo costume for World Book Day.” TWEET @COMPUTERARTS OR FIND US ON FACEBOOK @JOSHCDESIGN @BATUCOLOGLU @DESIGNS_MOTION @ONEAESTHETIC AMANDA SEARS Simply being allowed to be Flexibility. Being able to pick Having the time to get to I can fit it around my life. Making a living doing what super-creative. I was always what you want to work on I have no set start/break/ I love and the ability to do it know your clients. finish times, so if I need to held back in one way is a great privilege. go off for two hours at 3pm anywhere in the world. or another when I I don’t have to write off the was employed. afternoon; I can still do a full day’s work. C O M P U T E R A R T S . C R E AT I V E B L O Q . C O M - 22 -

APRIL 2019 MARIANNE WAITE COLUMN Is inclusivity the new sustainability? Marianne Waite thinks companies should remove barriers to brand experience by thinking green MARIANNE WAITE Campaign Director, The Valuable 500  and Inclusive Design Consultant, Omnicom www.thinkdesignable.com isability has never had it so good. Kind of. In the so and to consider the barriers that are stopping consumers accessing their goods and services online. Digital access D UK at least, the 2012 Paralympics was truly a should not only be of interest to tech companies, but to any watershed moment. It encouraged people to business looking to grow its customer base (that’s all of them). consider disabilities in ways they had never before. It’s time to follow the lead of these BGB giants who are Disability is now far more likely to appear on our screens getting it right, learn from their practice and do more in every sector: fashion, FMCG (fast-moving consumer goods), banking, in the form of presenters, actors or in advertisements. It is hospitality and retail. Each has the potential to change the also more likely to be discussed openly in the workplace, or lives of disabled consumers, by looking at every aspect of down the pub between friends. And consequently, the pace of how people interact with their brand. Every touch-point of a change in just a few years has helped break down barriers that customer journey has the potential to make life better. have held disabled people back for centuries. But to harness this opportunity, organisations need to But in many ways, significant challenges remain. tackle inaccessibility with the same level of commitment Challenges that go beyond on-screen diversity and that they apply when taking on environmental issues. There communication. We now need to focus on how we needs to be clear governance, significant investment and accommodate disabled people in all aspects of business. Not ongoing measurement. just congratulate ourselves on how much we all enjoyed the 2012 Paralympics and the 2016 Maltesers adverts. As a consequence of their efforts, brands that do invest in inclusivity will experience some of the key benefits of Such focus will enable inclusive, life-changing brand connecting with a wider spectrum of human need. These experiences: from retail and online access, to adaptive product include better consumer loyalty, greater differentiation, and service development, to assistive tech for employees. enhanced credibility, expansion into new areas, and increased heightened brand awareness. The key to these experiences is inclusive design. This is a term defined by the UK government as “products, services and So on behalf of the 53 per cent of people affected by environments that include the needs of the widest number disability globally, start putting inclusive design and of consumers”. Put simply, inclusive design is good design. sustainable innovation at the heart of your design and And insight from disabled consumers will drive much-needed development activities. That way, we can work towards a innovation, creating meaningful experiences for as many more inclusive world. people as possible. What best-practice examples toward disability have you experienced? It’s encouraging to see an increasing number of Tweet your thoughts @ComputerArts using #DesignMatters Interbrand’s 100 Best Global Brands such as Microsoft, Apple and Amazon employ inclusive design to tackle accessibility at a systemic level. But we need more mainstream brands to do C O M P U T E R A R T S . C R E AT I V E B L O Q . C O M - 23 -

INSIGHT APRIL 2019 REBRAND FOCUS Focus on: WPP The advertising and PR behemoth has a new logo and identity designed by Landor and Superunion. Three creatives weigh in… GREG QUINTON JENNIFER LIVAUDAIS JOE STONE Chief creative officer, Freelance graphic designer Designer and illustrator Superunion www.jenniferlivaudais.com www.joe-stone.co.uk www.superunion.com “Working with the WPP central team and “What I love about the WPP rebrand is “The animations are great and brilliantly done, brand consultant Landor, the new identity that it stayed away from employing generic but I don’t think it quite comes together as a and messaging is designed to express WPP’s typography in the wordmark, and instead whole. I found the overload of dots and colours strategy as a creative transformation company. went for a striking halftone design. It looks in many of the applications creates something We explored many ideas, but the final solution best in the lush, undulating animations, which that’s fussy, shapeless and undefined. was the simplest, most direct way of expressing successfully reinforces the idea that WPP and transformation – a logo made up of many parts its companies are a dynamic whole, rather than To some extent I think that’s the idea, since that combine to form a whole. their own separate entities. it’s representing a giant, faceless corporation made up of hundreds of thousands of people, The ever-changing, chameleon-like, Where the branding breaks down for me but the ever-shifting, blob-like nature doesn’t morphing surface is a representation of WPP’s a bit, however, is in the other applications. make for a very solid identity overall. The focus people, agencies, capabilities and markets that The poster examples aren’t as compelling on showing the scope of the company and its work together as one for clients. The surface is conceptually as the animations, and just reach means there isn’t space for anything else created on a base grid where each point or dot come across as boring geometric minimalism. apart from that one concept, so other aspects expands and contracts to create movement. I wish there were more to the branding overall. such as typography feel less well-thought-out. We wanted the identity to be a manifestation Relying solely on the halftone pattern for of the company – always transforming. the entire identity feels like it could be limiting In examples such as the series of posters, in the long term. where it pares things back with fewer colours Beyond the core identity assets, we created a and dots, it works nicer, and the key message range of communication pieces that visualised In a year or two, I worry that this rebrand of size and flexibility is cohesive. Likewise, the some of the strategic direction in the simplest, could be at risk of feeling outdated. Hopefully, simplified single-colour version of the logo still non-verbal way possible. This style will work WPP will realise this soon enough and says ‘we’re made up of lots of people’, but better across multiple marketing applications, such eventually develop the branding further – as than how other examples do. Overall, the as WPP’s website, films and image guides.” any good brand should do anyway.” whole thing is very slick and well-produced.” C O M P U T E R A R T S . C R E AT I V E B L O Q . C O M - 24 -

APRIL 2019 WPP The logo is made up of many parts to represent WPP’s people, agencies, capabilities and markets. On-screen it’s designed to have a continuously changing form and colour, symbolising creative transformation. C O M P U T E R A R T S . C R E AT I V E B L O Q . C O M - 25 -

SHOWCASE APRIL 2019 SHOWCASE Our selection of the hottest new design, illustration and motion work from the global design scene -

APRIL 2019 SHOWCASE COMING HOME RAFFLES INSTITUTION REUNION DAY IDENTITY SYSTEM by Darling Visual Communications www.darling.sg For its double anniversary reunion dinner Singapore-based Raffles Institution and the Old Rafflesians’ Association needed a series of visual materials to present to former pupils and all Rafflesians attending the event. Darling Visual Communications was enlisted to create an identity system including main graphics, stationery, packaging, booklet, gift box, digital banners and environmental graphics. The materials are likely to be kept by attendees as mementos of the reunion dinner itself and their time at this prestigious school. “The solution was a visual that embodies the spirit of the institution; how it’s experienced, cherished and remembered,” says Chin Yuanhong. “A warm colour palette reflects nostalgia, while the illustrations present a dynamic, modern and vibrant academic community within the larger fabric of the city.” COM PU T ER A R T S .CR E AT I V EB LO Q .COM - 27 -

SHOWCASE APRIL 2019 COM PU T ER A R T S .CR E AT I V EB LO Q .COM - 28 -

APRIL 2019 SHOWCASE Darling Visual created a series of The poster seeks to evoke memories Customised tea cups painted with collaterals for the Raffles Institution for the alumni members attending the colours from the school’s crest 195th anniversary. this occasion. were offered as door gifts. Invitation cards were printed on Maps for the tour of the city use a The event guide continues the high-quality uncoated paper, with mix of hand-drawn illustrations and theme of nostalgia, using vintage the inside of the envelope layered monotone images, paired with an images and large expanses of to form an interesting silhouette. elegant serif typeface. warm colour. COM PU T ER A R T S .CR E AT I V EB LO Q .COM - 29 -

SHOWCASE APRIL 2019 BREAKING EGGS OMELET REBRAND by Marta Cerdà and website by Legwork www.martacerda.com www.legworkstudio.com Omelet’s rebrand by designer and art director Marta Cerdà began with a briefing on how the agency wanted the idea of the creative process to be present in the new design, and that it was open to using an egg in the logo. “These two elements led me to come up with the idea of using the act of making an omelet as a metaphor for the creative process,” explains Cerdà. “Like humanist geographer Yi-Fu Tuan said, ‘all creative effort – including the making of an omelet – is preceded by destruction.’ There can be magic in destruction, and opportunity, too.” Following Cerdà’s rebrand, Legwork was brought on board to build a new website. “Omelet’s new identity is colourful and bold, and it needed to extend through the website. This challenged us to figure out how to add personality, but not be gimmicky about it or overwhelm the page with content,” says Legwork’s director of interactive, Matt Wiggins. COM PU T ER A R T S .CR E AT I V EB LO Q .COM - 30 -





SHOWCASE CONCRETE JUNGLE ART PROJECT by Nastplas www.nastplas.com Madrid-based creative duo Fran R. Learteand and Natalia Molinos have produced Shrub, a project that explores the fusion of architecture and vegetation. “We are inspired by the architects who combine buildings and nature, making them one, such as Stefano Boeri or Ignacio Solano who turn buildings into real ecosystems,” says Molinos. The pair studied a variety of plants before deciding on the species that would work best with the geometric concrete shapes, which were then modelled in 3D. “Vines and wild grass cling to the geometric concrete and marble shapes, while spider lilies, iris ensatas and hibiscus flowers are carefully integrated as part of the structure, giving birth to a living architectural tectonic.” Each set is lit differently: the designers experimented with a range of lighting concepts, including direct sunlight and soft, indirect lighting.



APRIL 2019 SHOWCASE SHARING HORIZONS IDENTITY RENEWAL AND EVOLUTION FOR DEBRECEN 2023 EUROPEAN CAPITAL OF CULTURE by Classmate Studio www.classmatestudio.com Working under the tagline Sharing Horizons, Budapest-based designers at Classmate Studio worked on the evolution of the identity system for Debrecen 2023 European Capital of Culture. “A new approach was taken, where the main idea of magnetic attraction is evolved further with the introduction of horizontally split layouts,” explains designer József Kiss. “At the same time as the arrows transform into circles, abstract representations of people, ideas and community are all drawn on to the horizon, sharing the same space and aspirations.” A characteristic open source typeface, Debrecen Sans, was also designed for the brand so that participants and organisers can download and use it during the cultural capital year. COM PU T ER A R T S .CR E AT I V EB LO Q .COM - 35 -

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INDUSTRY INSIGHT FIGHTING FOR GENDER EQUALITY

GENDER EQUALITY Rosie Hilder examines how gender affects the design industry, and discovers the people and initiatives encouraging everyone to fight for change C O M P U T E R A R T S . C R E AT I V E B L O Q . C O M - 39 -

“WE’VE FOCUSED ON WHAT CAN WE DO WITH WOMEN TO MAKE THEIR WORK BETTER AND MAKE THEM MORE SUCCESSFUL IN THE WORKPLACE.” LAURA JORDAN BAMBACH CHIEF CREATIVE OFFICER, MR PRESIDENT PHOTOGRAPH: Bronac McNeill LEFT Ali Hanan, creative director and founder of diversity-championing organisation Creative Equals (shown right). COMPUTERARTS.CREATIVEBLOQ.COM - 40 -

GENDER EQUALITY You only have to glance at a few statistics on gender in the UK design industry to know that all is not equal. While 70 per cent of design graduates are female, around 40 per cent of designers are women, and just 11 per cent make it to creative director level. Like most industries, there’s also a significant gender pay gap: research by SJD Accountancy shows women are paid upwards of 25 per cent less than their male counterparts. But what does this mean for design? How do these trends affect people working in the industry, what impact do they have on the work created, and perhaps most importantly, what can be done about it? We spoke to a range of creatives to get under the skin of the issue and find out what practical measures we can all take to challenge the status quo. THE ‘BABY QUESTION’ When trying to understand gender inequality in the workplace, it’s very easy to blame one thing. “We need to move on from ‘women are leaving to have babies’,” says Nat Maher, CEO of Pollitt & Partners and founder of collective Kerning The Gap. “First of all, 70 per cent of graduates are women but 11 per cent of creative directors are female, so there aren’t enough babies to account for that being the only reason.” And when we focus so much on the ‘baby question’, Nat adds, we forget to look at what else might be going on. The design industry itself seems to pose problems for women – although of course, everyone’s experience is different. “Unlike many sectors, creative careers are subject to how well you network or achieve within the – very biased – system,” explains Ali Hanan, creative director and founder of diversity championing organisation Creative Equals. “It depends on what account you’re put on, if you have the chance to pitch, if your work is put forward for awards, if you’re given the right kind of training, whether you have the same kind of feedback as your male colleagues, if your portfolio is given the chance to develop equally – you don’t just get put on the ‘pink’ brands – and so on.” The working hours can also be problematic. “It’s common for people to stay in the office until eight or nine o’clock, or even later, often at short notice,” says Marei Wollersberger, co-founder and futures director of design agency Normally. “That’s difficult to sustain if you have other responsibilities. It’s a culture created around the assumption that you don’t have anything else going on in your life.” What most of the statistics don’t tell us, adds Maher, is what’s going on with those who aren’t in full- time employment. What about the part-timers or freelancers? And what about the gender pay gap in smaller businesses that aren’t legally obliged to publish their numbers? “We’re a micro industry. Ninety per cent of our businesses have 10 or fewer people in them,” she says. “That means we don’t have HR departments, most of us are founder owned and led by men.” Of course, she continues, just because an agency is run by men, doesn’t mean they’re not switched on to supporting diversity. “But we employ and recruit in our reflection by default, so businesses led by men are drawn to have men in senior positions, and they become more senior, and they sometimes take over or set up businesses themselves, and the situation self-perpetuates.” CREATIVE NETWORKS The good news is there are plenty of people campaigning for change. Fed up of being the only two women invited to speak at events, chief creative officer of Mr President, Laura Jordan Bambach, and Ale Lariu, brand experience consultant, set up creative network SheSays in 2007. SheSays focuses on the engagement, education and advancement of women in the creative industries, because, as Jordan Bambach puts it, “you can’t be what you can’t see”. It runs various events, including mentoring, coaching sessions and portfolio reviews, and is now active in over 40 cities around the world. “We’ve focused on what can we do with women to make their work better and make them more successful in the workplace,” explains Jordan Bambach. “If you’re unsure of something and you feel uncomfortable asking about it at work, you can come to one of our events and find out all about it, and then go back to the office and absolutely smash it.” It’s working, too. “I know so many women who got their first job through SheSays or have grown through the company ranks because of attending a SheSays event and how confident it’s made them,” says Jordan Bambach. Issues of confidence crop up again and again in this debate. “Every conversation that I have around gender balance is about women’s confidence, or lack thereof, and the belief in what they’re capable of,” says Maher. Like SheSays, Maher’s collective Kerning the Gap focuses on practical ways to get more C O M P U T E R A R T S . C R E AT I V E B L O Q . C O M - 41 -

APRIL 2019 F A R L E F T Sketch #3 by Flower Up’s Alex Evans. B E L O W Artwork created by illustrator Sara Anderson. B O T T O M L E F T Amber Victoria often addresses femininity in her illustration work. “WE ASK AN OVERLY AGGRESSIVE MASCULINE MALE TO CHILL OUT AND GET IN TOUCH WITH HIS SENSITIVE SIDE” ALEX EVANS FOUNDER AND DEVELOPER OF FLOWER UP THE #METOO EFFECT HAS #METOO MADE A DIFFERENCE TO THE DESIGN INDUSTRY? ALEX EVANS, FLOWER UP done their learning during this conversation “I support the #MeToo movement as someone who approach situations. What will that awareness designs for anti-toxic masculinity, but I can’t say mean? Hopefully, it will keep us all on our toes, I’ve personally witnessed the direct physical questioning and striving to be better. And best- utilisation of the #MeToo movement in the case scenario, it will mean the generation after us industry, although I know it happens. Any will be closer to equality than ever before.” movement that helps create the concept of safe space or empowers people through the knowledge LAURA JORDAN BAMBACH, SHESAYS of support, whether directly or indirectly, will “#MeToo is not the solution to all of our woes. absolutely have an effect – big or small.” It’s brilliant – really brilliant – but the fact that people are already saying,‘God, are you still going KATIE CADWALLADER, SUPPLE STUDIO on about that?’ means there’s a long way to go. “I suppose it’s brought the subject of gender Until you get parity, you have to keep trying to equality to the forefront in our, and every industry. knock on that door.” It will be interesting to see how those who have COMPUTERARTS.CREATIVEBLOQ.COM - 42 -

GENDER EQUALITY women in leadership in the design industry, including by building confidence. TRENDS IN GENDER “That’s not to say that every woman should want to or have to be a leader, but on AND DESIGN the journey of solving the challenges of why we don’t have more, we’ll make the lives of every woman better in the design industry,” she explains. RACHAEL STOTT, SENIOR CREATIVE RESEARCHER AT THE FUTURE Kerning the Gap runs events and mentoring across the UK, and one of its core LABORATORY, SEES PROGRESS propositions is to involve men in the conversation. “Men are invited to everything, and we have men on our mentoring program,” explains Maher, adding that How is feminism shaping design? although men cannot be mentees, they often learn a lot about the difficulties It’s been promising to see creative women face through reverse mentoring. practitioners abandon tired gendered design cues to redefine modern female identity. The Why haven’t these conversations happened previously? “There’s been no ‘pinkification’ of feminism and women in language around it, so there’s been no way to talk about it without it feeling like design not only has the potential to be it was an attack,” says Maher. “And now there are so many other opportunities detrimental to the progression of women’s for men to understand the challenges that women experience, they’re developing rights – it also alienates men who have a key new empathy and sympathy for it. Our current debate is more ‘what can I do to role to play in the feminist movement. help?’ as opposed to ‘I don’t see why there’s a problem’.” Particularly in the health and wellness CHALLENGING GENDER NORMS sector, there has been a wave of brands adopting a bold design aesthetic in their As Maher points out, women aren’t the only ones facing problems. “The biggest branding that expresses women and killer of men aged 18 to 25 is suicide,” she says. “Men are expected to be bold, women’s issues in a confident and a more assertive risk-takers, and they’re clearly struggling with elements of that, and to authentic manner. Brands such as Thinx and communicate their challenges.” Sustain Natural use honest language when communicating sexual health and feminine In response to the toxic masculinity he witnessed at university, and the effect it hygiene issues and don’t shy away from had on his mental health, Alex Evans began fashion and design brand Flower Up. strong, colourful design. This approach helps “The term ‘flower it up’, asks an overly aggressive masculine male to chill out and de-stigmatise these topics and challenges get in touch with his sensitive or so-called feminine side,” he explains. the taboos that the overly pink, soft and suggestive branding of the past has created. Flower Up isn’t seeking social change, but it applies the concept of ‘flowering it up’ to challenge gender stereotypes. Through its work with Terra Firma Records How is masculinity being expressed? it’s been able to poke fun at and “highlight the overtly masculine aesthetics” of the The aesthetic of masculinity is changing – scene. Flower Up’s designs have meant the label is now “resonating with a wider it’s becoming more diverse and men are audience” – including more females. being portrayed more expansively. We have seen the creative industries explore more Of course, Evans isn’t alone in addressing gender imbalances and disrupting nuanced ways to portray the complexities stereotypes through his work. “I don’t think I’ve received a female portfolio this of manhood, emphasising the softer, past 12 months that doesn’t touch on gender equality,” says Katie Cadwallader, more sensitive and vulnerable qualities designer at Supple Studio. Sara Andreasson and Amber Vittoria are just two of of modern masculinity. many illustrators depicting femininity and womanhood, while illustrators such as Tianju Duan are providing different takes on what it means to be male. The fashion and beauty industries have been laying the groundwork for this shift, CHANGING STUDIO LIFE and have tapped into Generation Z’s desire for brands that emphasise inclusivity and If we are to achieve gender parity in the design industry, then we need to make individuality. For example, ASOS launched its changes in our structures, and for many, that means studios and their cultures. Go Play campaign, which challenged the perceptions of beauty, and blurred the line While working long hours is often seen as part and parcel of agency between masculine and feminine ideals. life, Wollersberger believes that such expectations often affect women disproportionately. “In our society, women tend to be given the added Hyper-macho sectors, such as the responsibilities – looking after ailing parents, or children, and running the life automotive and drinks industries, need to admin stuff – so this culture tends to impact them more,” she explains. “Also, re-assess their direction and incorporate women are less considered for roles because of the belief that these jobs require these more inclusive visions of the male longer working hours, and there’s an assumption that they’re not up to it.” body in their creative output, to appeal to a broader consumer base. To combat this, everyone at London agency Normally works four days instead of five. “There is no emailing, no excuses and no exceptions in terms of saying, What do you expect to see in future? ‘this week we’ll work five days’,” explains Wollersberger. “We started the four-day Gendered communications are not week because we saw a lot of waste in what we did – producing work that wasn’t beneficial to either sex, nor to a brand’s necessary, being there when our presence wasn’t required, and we thought that bottom line. We will therefore continue to presence took away our reflection time and made us unproductive.” see brands be more inclusive in their design strategies, and focus on brand purpose Does it work? According to Wollersberger, the studio has seen huge positives in rather than gendered products or services terms of the quality of its work, and the team have all seen benefits in their home that have the potential to eliminate a large lives. “We also have an extremely low churn rate – very few people leave. This is customer base. often a gender-related thing, because companies usually find it hard to recruit and maintain women in their teams,” she says. C O M P U T E R A R T S . C R E AT I V E B L O Q . C O M - 43 -

INDUSTRY INSIGHT APRIL 2019 , Normally has also taken steps to eliminate its gender pay gap. “Before, we had a traditional process based on past salaries. But we realised there was a big difference in terms of what people were asking for – the difference mainly being that women and introverts were asking for a lot less,” she recalls. Recognising that the management team was biased, Normally developed an algorithm to calculate salaries, which takes into account experience and nothing else. “It’s been brilliant,” enthuses Wollersberger. “It’s totally transparent and has blown away the sense of people being treated unfairly.” According to Wollersberger, making changes such as the four-day week and the salary calculator algorithm are “good first steps” to addressing the bias towards male culture in design. “This is a systematic bias rather than one reflecting people’s own beliefs,” she points out, “so we need to be as creative with our response as we are in our work projects. Be resourceful, think about how we can design the way we work.” SUPPORTING PARENTS The way parents are treated in the workplace may form part of this bias, and Maher believes that if we saw parenting as more of a “team sport” rather than a job for women, we’d all benefit. “Once you ask, ‘how are we supporting not just the women in our businesses, but how are we supporting the men and the parents?’, it then becomes all about responsibilities and pressures outside of work.” You also need to be careful, says Maher, that by looking after parents, you’re not expecting more of those who don’t have children. “Just because those without children can work until eight o’clock in the evening, doesn’t mean that it’s acceptable for them to do that,” she warns. For Jordan Bambach, it’s about levelling the playing field. “There needs to be equality in terms of allowing people backup,” she says. “Whether it’s paternity leave, or having equal parental leave, and equal pay – these things are so important because they get rid of this idea that childcare is a woman’s problem.” When Jordan Bambach came back to work after having her son, she found that the industry had changed: after just nine months, the ad format terminology was different. “People were talking about these things, and I had no idea what they were, and I was too embarrassed to ask ’cos I was the boss and I should know,” she recalls. “And that experience was uncomfortable.” Bambach had to scour the internet for help, but initiatives like SheSays and Creative Equals are now running programmes to get women up to speed on industry trends. Creative Equals runs three-day courses in Manchester and London that, as Hanan explains, “aim to build bridges back to work for women who have been out of the industry for all sorts of reasons – illness, parenthood, caring breaks and so on, and help them gain the tools and skills they need for today’s marketplace.” The programme has partnered with agencies that offer flexible working, such as the BBC, AMVBBDO, Toaster and LEGO, to run live briefs, as well as paid-placements following the course. AIMING FOR INCLUSIVITY Like notions of gender itself, inequality in the industry is complex and often multi-layered. To help studios navigate these layers, Creative Equals launched the Creative, Digital and Media Equality Standards – recognised kitemarks that give companies a diversity and inclusion review, rating and action plan. “The FIND OUT MORE TAKE ACTION WITH THE HELP OF THESE ORGANISATIONS AND RESOURCES SHE SAYS be competitive and unsupportive events in the UK, including the payrise, networking and building Award-winning organisation towards each other. LW&D returners programme. your brand. She Says runs events and provides support and networking www.creativeequals.org www.womenwho.co mentoring for women in over to women, and is now present in 40 cities in the world. If SheSays over 200 cities around the world. LITTLE BLACK BOOK: A TOOLKIT KERNING THE GAP isn’t in your city, get in touch with www.ladieswinedesign.com FOR WORKING WOMEN Kerning The Gap is a collective of the organisers to find out about This Sunday Times bestseller was people who want to see more starting a chapter. CREATIVE EQUALS written by writer and brand women in design leadership www.weareshesays.com Companies that want to consultant Otegha Uwagba – who roles. It runs various events champion diversity and inclusion also runs creative community throughout the UK, as well as LADIES, WINE & DESIGN can aim to get accredited with Women Who. Little Black Book: a mentoring scheme for women Ladies, Wine & Design (LW&D) the Creative, Digital and Media A Toolkit for Working Women in design. Sign up to the Kerning was started by Jessica Walsh in Equality Standards – find out imparts practical advice on The Gap newsletter to find events New York after an encounter more via the website. Creative navigating common workplace in your area. made her realise that women can Equals also runs workshops and areas such as asking for a www.kerningthegap.com C O M P U T E R A R T S . C R E AT I V E B L O Q . C O M - 44 -

GENDER EQUALITY “JUST BECAUSE THOSE WITHOUT CHILDREN CAN WORK UNTIL EIGHT O’CLOCK IN THE EVENING, DOESN’T MEAN IT’S ACCEPTABLE” NAT MAHER KERNING THE GAP A B O V E Nat Maher, CEO of Pollitt & Partners and founder of collective Kerning The Gap, wants people to look beyond ‘the baby question’. L E F T Supple Studio’s Katie Cadwallader has noticed more female designers are sending in portfolios that address the issue of gender equality. R I G H T Marei Wollersberger, the co-founder and futures director of design agency Normally, wants the practice of working late to change, which assumes that “you don’t have anything else going on in your life.” C O M P U T E R A R T S . C R E AT I V E B L O Q . C O M - 45 -

INDUSTRY INSIGHT standards look at all aspects of diversity – gender, race, LGBTQI, education, faith, age, disability, neurodiversity – and examine company policies and practices, top to bottom, in and out,” explains Hanan. “The reaction has been overwhelmingly positive,” she adds. “However, the Equality Standard is hard to gain – and most companies fail the first time. Becoming an accredited company takes courage, time and commitment. So the Gold standard shows you deserve it.” As Rosh Govindaraj, founder and lead designer of Issara bags, points out, inclusivity is beneficial not just for the people in the industry, but for the work created too. “Representation is important, and we need a balance of gender, age, ethnicity, and other factors – not just for ‘fairness’ but to ensure that we design solutions that will meet the needs of all kinds of people,” she says. “Fifty-fifty isn’t the goal and gender inequality isn’t the only important thing,” she continues. “I think the goal should “FIFTY-FIFTY ISN’T THE be to design with inclusivity in mind – try to think from the mindset of all those different people who might be interested GOAL AND GENDER in using your products and come up with solutions that will INEQUALITY ISN’T THE improve their experience.” Cadwallader agrees. “The more eyes and the more points ONLY IMPORTANT THING” of view the better, so the more diverse and differing the characters in the studio, the stronger our output will be.” ROSH GOVINDARAJ FOUNDER AND LEAD DESIGNER OF ISSARA And what about those who don’t fit into stereotypical categories of gender? “If I think about what things were like when I was in my 20s, the conversation has moved on phenomenally, and that’s great,” says Jordan Bambach. In terms of what that means for design, Jordan Bambach believes it’s about people feeling safe and supported. “People should be allowed to be their authentic selves at work,” she says. “That’s super-important, whatever gender you are, whatever sexuality you are, whatever religion you are, you need to feel safe to be yourself at work.” Being an inclusive workplace is also good for business. “There’s a huge amount of research showing that more inclusive boards perform better financially, more inclusive creative teams have better ideas, and create more inclusive design,” explains Jordan Bambach. “It’s an inequality issue, but it’s also business issue. I think the more that’s taken on, the quicker things will change.” Wollersberger believes we need to change workplace culture to keep up with the times. “It’s not about women and men necessarily, but recognising that skills such as listening, empathy and collaboration are growing in importance in the design industry due to the need to work across disciplines. Old-fashioned authoritarian behaviour no longer helps us to solve problems.” How likely are we to see real change in the industry? “We’re going in the right direction,” sums up Jordan Bambach, “but it’s not going to happen fast enough unless everyone takes responsibility… It’s not a women’s problem that women should be solving, it’s a cultural problem that culture should be solving.” WHAT CAN YOU DO? SMALL STEPS EVERYONE CAN TAKE TO CHAMPION GENDER EQUALITY LISTEN MORE and give them the opportunity to RECRUIT WITH GENDER IN MIND injustice, and it’s possible the “It’s important that everyone feel that way as well.” “Studios need to spend longer pendulum needs to sway a little feels like they have a place at on the hunt for female creatives far the opposite way for a while the table, not just women,” says WATCH YOUR LANGUAGE in the recruitment process to to begin the change.” She Says co-founder Laura “Make sure you use language ensure a balanced design Jordan Bambach, “so make sure that is inclusive,” continues studio,” says Carrie Bale, project If you’re looking to hire that you are allowing other Jordan Bambach. “There’s a manager at Purple Creative. In women for a creative project, people to speak and have lot of ‘banter’ in the industry doing so, you shouldn’t be afraid see directories such as Women opinions.” And if you’re a which is not that welcoming of seeming biased towards Who Draw – a directory of confident person who can or inclusive of women or women, says Katie Cadwallader illustrators who identity as express themselves well? “Try anyone else who happens of Supple Studio. “We’re trying to female – or Yes Equal, a network and take people along with you to be in a minority.” right a history of inequality and of creative women available to talk at events. COMPUTERARTS.CREATIVEBLOQ.COM - 46 -

submit BRAND IMPACT YOUR BEST BRANDING AWARDS For categories and full instructions visit: Enter the Brand Impact Awards 2019: Computer Arts’ www.brandimpactawards.com sixth annual celebration of the world’s very best branding. ENTRY DEADLINE: 31/05/19 PRESENTED_BY COMPUTER ARTSDESIGN MATTERS

IN CONVERSATION WTMRHITTOEENRMBYA:ORGUTSHTHMAMCYILOETORNRSPCOORUAGTEHO’SFVBIBURILADNINT GWSO. WRKEBCRAINUGGSHJTOUYPTWOITTHHETHGEREAYRETSISTTCTOORHNEEARRS HOEFRCTIHTIEEOS RAINESDOENNECROGLYOTUOR

wMfMowyroewarra.ssrgcatuonMudgygieoehomr,sfaycpneoudrubsghclhiaocsuissgbpahea.meccneousmcl,toid-lleaaswbigaonrrdain-tiwgnisgnpwneiicntihgfidLcueloksecigaMnlerorersagpnaondn–asrewtsisittthhbawathsheoedmlpinschLreeoanfotdeuoncndo. emSdhmeSuucnprieetayrtgaernosdusptbrluouincldtduoirdnael–nintfiostyrt.aaMlldaoetricaoagndsoepa. enrdaaterst commissions as Studio MORAG MYERSCOUGH

IN CONVERSATION APRIL 2019 M orag Myerscough is anything but to other people to describe me and pinpoint when (or how) you found subtle. The London-based artist’s what I do. that style? Facing page:The oversized, neon, geometric designs My approach to my work has artist works out burst with joy and energy, and have What do you want to achieve with developed over many years, but of her studio in the power to put a smile on the face your work? Is there a particular I can go back as far as my degree Hoxton, London. of anyone who sees them. Founder of response you hope for from visitors? show at St Martin’s. I was using Below: Studio Myerscough and co-founder The main aim is that people aren’t very similar colours, but not in the Myerscough of Supergrouplondon, Myerscough indifferent to it. I want people to same way. It was already happening designed a range has applied her inimitable style to react. I totally understand some then. I’ve always had the same way of bedrooms and a range of projects, from the people might hate my work and of thinking, but it took me a while patient suites Barbican Centre’s wayfinding I would rather have that than just to be able to make the sort of work for Sheffield scheme, to a ‘Super Hot’ dismiss it with indifference. I want I wanted to. Children’s temporary amusement arcade, to people to have conversations; to hospital. art commissions for the bedrooms experience something they didn’t You’ve spoken about doing your at Sheffield Children’s Hospital. expect. That’s why I love making own thing while at art school and work in public spaces, where people “hiding from tutors”. Are you glad We caught up with her after her might stumble across a piece of work you studied art? talk at Design Manchester to learn and have it change their thoughts for I had a varied time at St Martin’s and her take on the role of the graphic the day – ideally for the better. the Royal College, but I’m so pleased designer, how she found her style, I went. I had an amazing tutor in and why her work is really all about In hospitals I really do want to the third year of St Martin’s. Geoff helping people belong. brighten people’s days, to raise their Fowle opened my mind and taught moods, to make them feel positive me how to think. I couldn’t have How do you describe what you do? and hopeful. I want to make spaces asked for more. Then at the Royal I always find titles very restrictive. that feel like home, which people College I had time to think and I usually describe what I make as big enjoy being in. And ultimately to develop my thoughts. installations and projects for public help people feel better. spaces, and hospitals and schools. Being anti to what’s around you You can call me a designer, an artist You have a very distinctive and isn’t a bad thing. You form your own and a maker. I prefer leaving it up  recognisable aesthetic. Can you way of doing things. You don’t know why you’re doing it, but maybe what you want doesn’t exist yet at the time. I’m glad I went to art school because it gave me the space and time I needed. Do you think it’s important for young designers and artists today to have a formal design education? This is a difficult one. It’s important to do what feels right for you. I don’t think design should be taught in isolation. Or maybe you do a degree in science and then choose to do design, and you bring more thoughts together. There’s no right or wrong way. I do believe design shouldn’t be taught in a way that it’s so connected to specific industries, which may change or become redundant relatively quickly. It’s important to discover things you might not have been looking for; to make mistakes. Being taught how to see things, how to access PHOTOGRAPH: Jill Tate C O M P U T E R A R T S . C R E AT I V E B L O Q . C O M - 50 -