02 Gold Coast creative community
Archer & archer typism
Melanie Tjoeng kiel tilLman
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A publication born through the collaborative process, sifting through the chaotic creative culture of the Gold Coast, and defining the ideas dancing at its heart. 4 Kiel Tillman
6 Melanie Tjoeng
10 portfolio 1/2013 12 archer & Archer
18 typism
COLLECTIVE Two www.collectivemagazine.com.au Publisher Designworks College of Design Cover photo by Orion Zuyderhoff-Gray
Editor Nolan Giles Art Director + Design Drew Davies Contributing writer Martyna Kulczyk Contributing Photographers Orion Zuyderhoff-Gray Jazmin Mansell Proofreader Noel O’Halloran Collective is published four times a year by Designworks College of Design Š 2013 (All rights reserved). Printed by Foyer Printing on 120gsm Sun Offset stock by K.W. Doggett Fine Paper. Reproduction in whole or in part is strictly prohibited by law. Opinions expressed in articles are those of the author. All rights reserved on entire contents unless noted. Artists, photographers, designers and writers retain copyright to their work. Any ideas for submissions, please contact info@collectivemagazine.com.au.
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the graphic nature of Kiel Tillman by Martyna Kulczyk
The detailed, laser-etched wooden pieces making up Kiel Tillman’s debut solo show, Graphic Nature, are inspired by the land, and representative of an artist constantly refining his craft. While Tillman has always been a passionate artisan, it took leaving behind an eight-year career with Billabong to allow him to master the unique art of laser etching. He pinpoints the defining moment that led to the career change. “We had this pair of denim walk-shorts that we updated every season. It was always the job I’d leave right until the end,” recalls Tillman, who was working at the time as a senior menswear designer. “I opened the file to design the new season’s shorts and looked at the file name – it was exactly the same date, but a year before. I realised that I was designing almost the exact same pair of shorts every year.” This brash realisation sparked Tillman to pack up his desk and join local creative agency Potato Press as Creative Director in 2009. It was there he learnt to operate the company’s laser-cutting machine and add depth and fine detail to his designs.
Nature, Tillman has showcased his visually exciting and tactile process, incorporating highlights from his back catalogue to create a carefully refined showing. The exhibition will open at the Raglan Street Gallery in Melbourne on August 22, then move to St Thomas Gallery in Chevron Island on October 25. Tillman notes his first solo show as a major personal goal for this year, and he is planning on working with more gallery-style settings for upcoming exhibitions in the future. “I really wanted to get out there and push to do my own show, so when the opportunity with Raglan Street Gallery came about, I jumped on it.” Graphic Nature will showcase Tillman’s new multi-coloured and heavily layered three-dimensional pieces, along with larger, more interactive works. “I’ve got a bench seat at home that is going to be stripped back and re-used,” Tillman says. “I’ve always been really interested in furniture design. I always have sketches lying around of stuff I want to make.”
“When I started at Potato Press, it opened up a whole new spectrum that I could work within. I’d previously used a jigsaw and wood, and cut out every shape by hand, but in recent years I’m starting to build new techniques using the different parameters the lasers are capable of,” Tillman explains.
Pieces from past group showings have often exuded an exotic theme, which will be carried through to his first solo show. Graphic Nature will still see a Baja influence in the finer details and subjects, but with a stronger animal base. Tillman says the audience can expect to see plenty of snakes in his work, a subject that works particularly well with his medium.
Laser etching is now the signature of Tillman’s artistic technique, which incorporates hand drawing and iPad editing. For Graphic
“I don’t mind snakes. I like the scales and drawing the fluidity of them – they seem to work well interweaving with other elements.”
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Graphic Nature will showcase Tillman’s new multi-coloured and heavily layered three-dimensional pieces, along with larger, more interactive works.
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in the moment Melanie Tjoeng by Nolan giles
Melanie Tjoeng’s aim is to capture a pure and vibrant portrayal of the personalities before her lens. For the Gold Coast Photographer, documenting her subject’s essence is always the end-goal, and a skill she is undoubtedly mastering.
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Photography melanie tjoeng (from left) Mitch Teresa
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“When something is forced, you don’t feel anything,” she says. “For me I have to tap into something else. I know it sounds weird, but there is a creative force, and I have to be inspired in that moment, otherwise I feel that the photos are just flat.” Tjoeng at her most formal is a documentary photographer covering various corners of the planet for global titles, including The Wall Street Journal. However, in recent months she has been sinking into the “cathartic” process of collaborating with models on fashion and editorial work. “I wasn’t doing much documentary work on the Gold Coast, and then I shot two models, and I thought ‘Wow, I am actually really enjoying this’,” Tjoeng explains. “With documentary work you almost have to wait for a moment, and make sure that you capture it, whereas in fashion photography you can actually make the moment happen, and I find that really beautiful. It is a totally different process, but the outcome is just as inspiring.” Creating this ‘moment’ is a talent Tjoeng’s laid-back, yet supremely focused professional persona lends well to. On shoot she steps back and creates a relaxed environment for her subjects to embed themselves within – giving them deliberate expressive freedom. “I think that when I shoot fashion, I shoot a bit more from a documentary perspective, I don’t interject a lot,” she says. “A lot of fashion photographers will try and pose their models the whole way through. Sometimes I might make suggestions, but generally I like to see how they move, and I move around them.” Tjoeng, who lives a nomadic lifestyle, shooting between Australia, Europe and the US, says she is drawn to lush, natural settings to highlight her vivid photography style. She maintains, however, that the key ingredient to a memorable and productive shoot comes from the team involved and the connection between artist and subject.
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“When something is forced, you don’t feel anything.”
“I like unusual-looking girls and guys, a gap-tooth, or something different that sets someone apart physically, but real personality is essential in modelling,” she says. “A model with an amazing personality is just a game-changer, the photos are so much better, and they bring so much to the camera. Every model I work with is different, and I always try to draw from this to create something unique.”
(opposite from left clockwise) Zoe taylaH Michael yani
Tjoeng’s documentarian curiosity is innate, and whether she is shooting fashion for a local boutique brand, or covering a social issue for a major New York news title, she maintains the crux of her craft will always remain in story telling. “It is great to do something every day that I feel passionate about. I am always learning and I always get to tell somebody else’s story,” she says. “I always shoot from the heart, because I think it is really important to have feeling in your photos. I don’t just shoot to get better, I shoot to tell these stories, and I feel like if you keep shooting, people will keep seeing your work.”
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po r t f olio
1/2013
Designworks is proud to present you with our first class of graduating graphic designers for 2013. Elise, John, Charlotte and Dannielle are four creative Gold Coasters eager and, more importantly, ready to enter the industry after completing their Graphic Design DiplomA. In 12 intense months they’ve taken to mastering the art of visual communication with gusto, completing a multitude of creative design briefs and challenging coursework to create industry–ready portfolios. The group, who have inspired us as much as we have them, take us through their future plans, their passion for design, and the benefits of studying at Queensland’s leading college for graphic design education, Designworks.
hand stiTChed masthead design by charlotte
Please introduce yourself and tell us how you became interested in design? Hi, I’m Charlotte Dance-Wilson. My interest in design began with my love of art and has continued to grow from there. Why did you choose to study at Designworks? I chose to study at Designworks due to its smaller, more hands-on classes and strong focus on getting us industry ready. How has Designworks helped you develop creatively as a graphic designer? I believe it has helped greatly. I now feel better able to develop and express my ideas within a time frame and according to a brief. I also feel my confidence in my ability and ideas has increased, which is really important.
packaging design by charlotte
What area of design are you most passionate about, and why? I have come to love letterpress since studying at Designworks and watching the opening and operation of Impressworks out of the same building – it’s definitely an area I would like to pursue further. What are your future plans? I am currently interning at Annabel Trends in Burleigh Heads. Annabel Trends is a family company supplying giftware that sets trends, with strengths in design, colour and presentation, and I am looking to increase my hours there once graduating. I would also like to pursue the avenue of letterpress!
Please introduce yourself and tell us how you became interested in design? My name is Dannielle Hill. I first became interested in design during a marketing internship during my communications degree. Why did you choose to study at Designworks? I chose to study at Designworks because I liked the fact that it was an intensive course, and I could achieve a lot more within the 12 months than if I studied elsewhere, meaning I can enter the workforce faster. How has Designworks helped you develop creatively as a graphic designer? Designworks has taught me skills and techniques that will be highly beneficial in whatever design career path I choose to embark upon. I’ve learnt that there’s much more to good design than just making something look pretty – it has to convey meaning to be sustainable and memorable.
www.behance.net/charlottedw What area of design are you most passionate about, and why? This is a tough question because it’s constantly changing. At the moment I’m passionate about web design as it presents a challenge with aesthetics combined with functionality. Seeing a website or mobile app that I have designed is really satisfying.
web design by Dannielle
“I was like, people do this for a living? Rad.” John
What are your future plans? I’ll be moving to Melbourne and hopefully securing full-time work in a position that combines marketing with graphic design. Doing editorial design would also be great. www.behance.net/dannielleh
portrait photography by designworks’ student Jazmin mansell jazzdivisionphotography.com.au
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Logo design by Elise
Please introduce yourself and tell us how you became interested in design? Hi, I’m Elise Clark-Higham, a graphic and web designer. Creative rivers run deep in my family. My mother was a pianist, and my grandmother was an artist. I’ve met and worked for some fascinating people over the years, many of whom shaped my design aesthetic. Why did you choose to study at Designworks? Visual communications is very much about the message and Designworks projected the right message. I also think your environment is paramount to creativity and I loved the space at Designworks. How has Designworks helped you develop creatively as a graphic designer? I’ve been really fortunate to attend Designworks during a time of change at the college. All of the teachers are involved in the design industry, so they still have connections to current trends and industry contacts. They have given me practical skills, plus I have made some lifelong friendships with mentors I admire. What area of design are you most passionate about, and why? When I was working as a freelance web designer I thought, this is what I’m going to do forever – this is the coolest. Fast forward to now and I’ve designed brochures, packaging, apps and even branded a hospital. And I’ve really enjoyed every minute of it. What are your future plans? Well it’s pretty simple for me. I’ve already scored a graphic design role at Left Bank Gallery. This sort of position, where my work is varied and I utilise all my different skills, is important to me, especially given the industry is evolving all the time. www.eliseclarkdesign.com
layout design by Elise
Please introduce yourself and tell us how you became interested in design? My name is John Bresciani and I’m from Queens, New York. As a kid I was always looking for ways to be creative in music, drawing, etc. I thought that was something people did as a hobby, but graphic design opened a new door for me in terms of applying creativity to “work”. Why did you choose to study at Designworks? It was by chance really. My girlfriend asked me to go to this info night at the college to check it out. I had no idea what being a graphic designer was or meant. I was sold after the presentation Drew (Davies) gave. I was like, people do this for a living? Rad. How has Designworks helped you develop creatively as a graphic designer? Creativity is such a personal thing. The main thing that will always stick with me after my time at Designworks is the ability to follow a brief and what the client wants, which at the end of the day is what is important. What area of design are you most passionate about, and why? I’m so hooked on type at the moment. I think the way you place type and what you say can really engage the reader. Especially if you use wood type! Honestly, I love all areas of graphic design, especially if it’s clean. What are your future plans? Hopefully to be involved in great projects with awesome design! Working in printing for a while would also be great.
magazine design by john
“I’ve learnt that there’s much more to good design than just making something look pretty – it has to convey meaning to be sustainable and memorable.” Dannielle
www.behance.net/johnbresciani
hello@designworks.edu.au www.designworks.edu.au T: (07) 5535 0298 19 tallebudgera Ck Rd West burleigh
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“I’d been asleep for about half-a-kilometre, just directing this photo-shoot in my head. COLLECTIVE two / 12
Troy and sarah archer discuss passion, persistence & parenthood with Nolan Giles. Great things aren’t achieved without hard work – the success of local creative business Archer & Archer is testament to this rule. Troy and Sarah Archer, the energetic husband-and-wife team behind the charming operation, have toiled diligently to carve hobbyist dream into business reality over three long years. For Troy, this has meant pushing himself a little too far… Even as he slipped into a slumber, speeding down the Pacific Highway at 3AM late last year, there was only one thing on his mind – work. “It was on a really long straight, and I had a dream that I was styling a photo-shoot, and I remember coming around this bend and thinking ‘where the fuck am I?’” he recalls. “I’d been asleep for about half-a-kilometre, just directing this photoshoot in my head. It was pretty bad, it just crept up on me. I was so lucky I woke up in time.” At the time, Troy had been operating their rapidly growing online business by day while furnishing a concept fashion store in Brisbane by night – all the while looking after Sarah, who was sick and pregnant with their first child. Today he beams a grin of relief as he recalls the incident, rocking eight-week-old Minnie into a much safer slumber in the family’s carefully furnished Tweed Heads home. While Sarah remembers the event less fondly, she lights up as conversation turns away from her husband’s near miss and back to their eldest child, two-yearold business – Archer & Archer. “It still shocks us, to this day, that we put this old stuff up online and people want to buy it,” she explains. “It is amazing for us, and that is why we have been putting all this time and love into it for so long, because we really do appreciate our customers and we are consistently shocked by them. Last night, “At the end of the day if we pay $10 for something, we don’t care if it for example, we sold 15 new items and we were dancing around the has come from Crazy Clark’s, or if it has come from Italy, or if it has house, celebrating.” come from a milking station in the middle of the country,” Troy says. Archer & Archer is a unique Facebook-driven online retail business, operated by the devoted duo that “grew up” together working at the Billabong Group in Burleigh.
“We bought it because we like the colour, we like the shape of it and we think it looks great, we don’t claim to be experts in antique prices,” Sarah adds.
Troy was a long-stay in marketing with Element Australia and Sarah worked with the world-famous surf brand as she pursued music and modelling work. Their family business sells thoughtfully curated vintage home wares and decorative pieces found across the country – at garage sales, deceased estate auctions, and anywhere else “old stuff” turns up. Items are selected based on their aesthetic appeal and charm – it could be an antique rolling pin, rickety Swedish pine table, or something a bit zanier, like a 1920’s Singer skirt marker.
“We do it all on face value, we base it on what we think is cool, what we originally paid for it, the time that goes into selling the item, and we come up with a fair price.” Archer & Archer mark-up all found products in this honest fashion and offer them for sale on the business’s carefully managed Facebook page through twice-weekly sales nights. Each item, no matter how small, gets the same stylish treatment to bring it to life onscreen through beautiful studio photography.
it was pretty bad, it just crept up on me. I was so lucky I woke up in time.” COLLECTIVE two / 13
Repeat business has been a vital component of Archer & Archer’s success. They might sell as many as 100 items ranging from $10 to $500 across a week to a heavily engaged Facebook following approaching 6000. While beautifully presented wares grab the consumer’s initial attention, it is the vibrant personalities and considered taste at the heart of Archer & Archer that gives the brand lasting appeal. Troy and Sarah have managed to overcome online retail’s cold digital void between buyer and seller by truly emphasising the ‘social’ component of social media. “The whole idea was always to present something that was super-clean and well considered, and for the experience to feel like a true branded experience,” says Troy, who, early on, adopted the red apple into shoots, working both as a scaling device and a charming brand signifier. “People appreciate receiving an item wrapped in brown paper, with twine, tag and bubble-wrap.” “When we present something well we are really proud to send it off. Every product that goes out is treated that way, and this bit of extra care is why we get a lot of returning customers,” adds Sarah.
“There is this really fast commercial face of media and online retail, but for us it is nice to have this old worldly rich engagement and customer service,” explains Troy. “We just really wanted our customers to feel like they could trust us and it was real. So we talk about each other on Facebook – we will say things like ‘Sarah is doing such a great job with Minnie’, and ‘parenthood is so tough’ and I guess that is just about being communicative with our customers because we respect them as people.” Sarah adds that this respect works both ways. “When Minnie was born we just received all these amazing gifts and thoughtful messages from our customers. One even went to the trouble of sourcing her a rattle with our little red apple on it,” she says. Honest values, coupled with personable service, come naturally to the laid-back couple, however, executing a successful business plan has involved running a gruelling regime through both pregnancy and parenthood. Troy and Sarah admit growing a business based on selling an increasingly rare commodity is tough, and getting enough value out of each small item to keep the business ticking along is even tougher.
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“When we present something well we are really proud to send it off. Every product that goes out is treated that way, and this bit of extra care is why we get a lot of returning customers.”
It’s not unusual for Troy to bomb around the countryside for days in the family van, going as far south as Sydney foraging for finds. Sometimes he comes home with a haul of sellable pieces, but sometimes he returns with nothing at all. “Sourcing the items is time-consuming and challenging and sometimes you go out and you find nothing,” says Sarah. “But then sometimes you get lucky and end up picking up 300 items from one house, which has happened before. You just have to have that mindset of going out there to constantly look,” Troy adds. Although finding and selling vintage wares will always be a major component of Archer & Archer, the couple are looking ahead to growing the business online and offline in innovative ways. They have already, and will continue to, partner with major brands including Billabong to create shop fit-outs and maximise visual merchandising opportunities. They are also set to expand their presence online, moving some business over to a new .com, and throwing in some fresh ideas, including collaborations with well-known brands and artists, and launching lines of new products.
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“At the end of the day we are finding that as long we really love what we are selling, then other people will love it too.” “We want to mix new product with old product, but maintain the Archer & Archer feel,” explains Sarah. “At the end of the day we are finding that as long we really love what we are selling, then other people will love it too. We are so picky about what we put up, and I think that is what our customers respect about us.” For Archer & Archer, it is this lasting respect that all their hard work has boiled down to, and this will be the continuing factor in the business’s growth. Despite some tough times, and the odd brush with death at the wheel, the Archers’ story proves passion is the most powerful ingredient in any success story. “If we weren’t doing this, Troy would still be going out to garage sales every weekend anyway,” laughs Sarah. “Troy’s big thing is relationships with people, he loves a good chat with the oldies.” “Life is just made up of experiences,” adds Troy. “Sarah might roll her eyes, because I am quite romantic about all of this stuff, but there is nothing better than a really nice experience, so that folds into what we do – we just want people to be stoked.”
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September 6 The graphic designer’s design conference The Line-up A Friend of Mine (MEL) BTP (MEL) Hofstede (MEL) Interbrand (SYD) Moffitt.Moffitt. (SYD) Strategy (CHC) Information/Tickets sexdrugshelvetica.com
Website sexdrugshelvetica.com Blog sexdrugshelvetica.tumblr.com Facebook /sexdrugshelvetica COLLECTIVE two / 17 Instagram @sdhelvetica Twitter @sdhelvetica
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In recent years Dominique Falla has built a reputation as one of the Gold Coast’s top creative-thinkers. She promotes creativity not only in her role teaching the Bachelor of Digital Media at Queensland College of Art, but also as a tactile, genre-bending typographer.
On September 4, she takes her first foray into the creative conference world by hosting Typism – A type inspiration conference, to be held at Pacific Fair Cinemas. The event, aimed at designers, students and type-fanatics, will highlight the creative process of some of the world’s foremost typographers and emerging local talent. Falla chats to Collective about the event, its unique collaborative ideology, and the importance of that classic, but under-appreciated, creative tool – the pencil.
(opposite) design by Dominique Falla
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“she’s obsessed with type. Gemma o’brien
What are the origins of typography? The craft of typography originates from pre-printing styles of writing, when books were physically copied by hand. The typographers had to write these books in a particular style and typefaces like Gothic Blackletter, which is used today by basically every heavy metal band, were government-sanctioned styles of writing. Back then typographers were incredibly proficient because they drew type all day, every day today designers are drawing inspiration from these forefathers and remastering their techniques. Why has typography enjoyed such a big resurgence in recent years? I am starting to think that in the digital age, type is becoming this ‘thing’ where, if you can hand-draw type, all of a sudden, as a graphic designer, you have an edge over everyone else. The computer has taken away all the mystery from graphic design, so that is why I think hand-drawn typography is having a real resurgence.
What will the seven speakers bring to Typism? Myself and the other six speakers probably all classify ourselves as graphic designers, but our love, passion and the thing that is proving to be our point-of-difference is our typography work. This includes both typography in the original sense of the term, which is to design or use typefaces, or in the modern sense, covers people who hand-draw letters. Wayne Thompson and Matt Vergotis both design typefaces and can also draw these things by hands. Aurelie Maron and Bobby Haiqalsyah might not design typefaces, but still understand enough about the foundations of type to then play with it when they do their hand-drawn work. Gemma O’Brien I would call a type illustrator.
If you look at a top Australian illustration agency like The Jacky Winter Group they have three or four really good hand-drawn typographers on their books. Admittedly it might be seen as a bit of a gimmick at the moment, but the idea of chalk or hand-drawn typography working as a communicative point-of-difference for major brands is certainly visible. Just look at Gemma O’Brien’s typography work with Woolworths on its Christmas campaign last year. How did you come up with the name Typism? Today it seems like people are really starting to get obsessed with typography, and I know from experience that once you are addicted to type it is like you join this weird club. The promotional video that we made for Typism is all about being addicted to type, the actors appear to be some kind of junkies, and you don’t know what they are addicted to. You realise, after a while, that it is type, which is an addiction you don’t actually want to get rid of. When people come to the conference I am hoping to get hospital wristbands made-up, and guests will actually become ‘registered type addicts’. Once you have this addiction you are in the club. It’s like communism…Typism. What separates Typism from other creative conferences, besides its unique subject matter? Typism is an inspiration conference, and myself and the other speakers will all talk about our inspiration, and also about our process, which I think is the most inspiring aspect of any creative person. I went and saw Per Mollerup, from Swinburne University of Technology, who spoke at AGIdeas, and he said, “If you want to see my work, just Google me”. That was his first statement, and that really stuck with me. The point of our creative conference is not to just show slide shows of our work, that is what Google is for, the point of Typism is to talk about our philosophies and the way we approach things, and how we solve problems.
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The bodycopy typeface used for this spread is KNubi Regular, designed by Typism speaker Matt Vergotis. You can download Knubi at www.verg.com.au/downloads/knubi
she lives it, she breathes it, she is just that type of a person.” Gemma O’Brien seems to have rapidly ascended to the top of the typography world, can you tell us a bit about her? She went viral in 2011 with a video where she drew on herself. She is an attractive girl and she is kind of drawing type all over herself, and for whatever reason people shared that video. From there she got invited to TYPO Berlin, which is basically the mecca for type conferences. She is very giving and very open, and she’ll tell you everything, and when she did a Hand Type Workshop in Brisbane she literally brought all of her roughs and just spread them out on the table, so for me that was just gold. She is one of those people who draws type every day. When she goes on holiday she just photographs signs. She’s obsessed with type, she lives it, she breathes it, she is just that type of a person. She is very accomplished at the hand-drawing stuff, she’s got a great name and she’s got some reasonably high-profile gigs. What would your advice be to type-addicts who still need a fix after Typism is over? My advice would always be to get a notebook and to draw every day and that is why the early bird-packs come with these beautiful Mi Goals notebooks. So most creative people that come to the conference are going to be given a pencil and a notebook, so they will be sitting there in the conference with the opportunity to sketch and take notes throughout, and I hope that is the start for a lot of people of a journey. Most people that are coming are already on that journey and they already have notebooks filled with type. The idea is we are going to give you the tools so as you are sitting there you can be drawing and writing notes and take this home and continue the journey from there.
“the point of Typism is to talk about our philosophies and the way that we approach things, and how we solve problems.”
design by wayne thompson
(Above designs clockwise from left) Aurelie Maron Matt Vergotis Nicole Phillips
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