Espion Magazine Issue #001

m a g a z i n e

Issue #001 Summer 2012 FEATURING How light affects designers Creative workspaces in Dorset Going freelance And more!

Welcome to the first issue of Espion Magazine In this issue, we bring everything you need to know to start and run a successfull design business. First up, we showcase a number of creative work spaces in the Dorset area - it just goes to show that you can build a fantastic client base and produce inspirational work in no time at all. Most exclusively, we meet the experts and explore the extra mile on their studio lifestyle.

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ACKNOW LEDGE MENT

STAYING IN THE LOOP Going freelance can be daunting. Will you find enough work? Will you get lonely? Will you end up back in an office? Garrick Webster talks to freelancing creatives about how they make it work.

Quitting your office job and becoming

lonely if the telephone doesn’t ring. And

Facebook and MySpace offer facilities

self-employed can be one of the most

you might actually start to miss chirpy

that will help you stay in touch with like-

liberating

ever

Jerry, the mouthy guy who was always

minded creatives, and there are plenty

have. No more tiresome commute.

for a laugh. But fear not. All you need is

of design forums and blogs to keep an

Goodbye nine-to-five (or ten-til-ten in

a little discipline, the right approach, and

eye on for extra sources of information..

the design industry). Back-stabbing co-

a touch of innovation.

Rob Walmsley and Graham Sykes

workers and overbearing management

Staying in the loop with contacts

founded Teacake Design a year ago

will

past.

and the industry at large is among

when they left university. They work

Even before you’ve packed up your

the biggest worries for prospective

together from the corner of Rob’s

desk, however, other worrying home

freelancers. The first thing to do is to

bedroom at his house in Manchester,

truths might come to light. You’ll need

make sure that the industry knows

and an IKEA desk with two computers

to find some steady clients to pay the

you’re there, and how extensively

on it is, essentially, Teacake Design.

bills. When you hit a creative block, or

you pursue this is up to you. These

However, they run a blog on their site,

you need a reality check, who will you

days, most freelancers turn to the

which generates international work.

bounce your ideas off? Things might get

internet first. Networking sites such as

“We have managed to discuss our work

experiences

become

things

01 || Espion Magazine

you’ll

of

the

agencies in cities are also part of the group, and she’s found it to be a great source of clients. “It’s called Cambridge Network and it costs £100 to join each year. The good thing about it is that it has hundreds of Cambridge-based companies as members, and provides regular networking evenings and business events, plus a service where I can post any news on the website,”.

You might even consider advertising your services in a magazine or on a website that covers a field in which you work. Brooklyn-based illustrator Tara McPherson has had success with this approach. On top of client work, she sells posters and prints of her work, and used to make other merchandise such as snow globes, button sets and more. She has advertised her items in magazines and for her posters she took out a banner advert on www.gigposters.com. The sales came in, but art directors also picked up on her promos and got in touch with work.

There will come a time when you have to meet clients face to face, and that

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can be nerve-racking if you work from

Land Securities - Past, Present, Future

home. The Quick Guide to Working

Designed by Teacake Design for a very green conference in London. This project explored the issues involved with

from Home by Hugh Williams (£6.99,

large scale urban development.

Lawpack Publishing) is full of general business advice on the subject, and

with people as far away as China and

go in for long chats with people. I like

provides some useful insights into the

Australia,” says Walmsley. “People we

email - you can be quick, blunt and to

process of having clients visit you at

work with are rarely in the same place

the point, which is ideal for me. I have

home. If they’re likely to have to step

so it is easier to stay in contact via the

MySpace and Facebook pages too,

over your boots, avoid your dog and sit

internet. Right now we’re working with

but I’m going to take them down. I just

in the corner of your bedroom studio,

an artist in Italy, and have also been to

don’t have the time to do all that stuff! If

this is probably not a good idea. But

work in Holland after communicating by

you have your own site it’s enough.”

if you can pull it off, inviting your client

email and writing on our blog.”

Efforts to stay in the loop with the

to a meeting in a tidy front room and

Ian Swift, aka Swifty, has been working

industry, clients and other designers

offering them a drink can help them

from home for nearly a decade, and

can extend much further than using

relax and get to know you better. A

currently runs his design business

the internet. Anna Wray founded

stronger working relationship might

from his shed. For him, having a

Lo-fiCreative with some like-minded

result in the long run.

good website was critical. “Email and

creatives in Cambridge. She works

Alternatively, you can opt for lunch,

YouSendIt are my main channels of

from home, and found it useful to join a

a coffee shop or even a pub. But

communication,” he says. “I don’t really

local business network. Bigger design

for some clients, a more inventive

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02 Bo Concept - Office showroom Working from home requires organisation, discipline and the right surroundings. For more information, please visit www.boconcept.co.uk

approach might be called for, perhaps

hurting my back. It could be three days

the day using instant messenging.

one that takes advantage of more

and the only person I’d see would be

Many designers recommend you

interesting local attractions. “A

the UPS guy. It’s tough, and you can

go one step further. Invite visitors

typographer we met once told us

and show them your work. Go to

that he had day passes for a number

galleries and museums. If your brain

of local attractions, and that he

is fried, take in a matinee movie -

would take his clients to the zoo or

you’re your own boss now, after all.

a museum. The office doesn’t just

The glory of having a home studio is

have to be contained in the home

that, like all the people we’ve spoken

all of the time,” says Graham Sykes

to here, you can fill the area with

Attracting clients and working with

things you like and it won’t bother

them on a regular basis is one of

anybody else. The walls are yours

the ongoing challenges for the self-

for your posters. The bookshelf can

employed, but it can be a lonely life.

house all your art and design books,

Isolation is something experienced

as well as anything else you choose

by many people who work from

as decoration. If you want to spray-

home. “I would go crazy when

paint the ceiling, it’s your shout.

I worked at home and I lived by

For many, daily inspiration begins

myself,” says McPherson. “I was a long

often feel like ‘Wah! I need to get out!’”

with a web trawl. Illustrator Tom

walk away from the subway, so I would

To combat this problem, some people

Bagshaw allocates time for this: “I tend

have my groceries delivered because it

like the sharpness of Twitter. Others

to put aside a set amount of time each

was far to walk carrying them without

keep in touch with friends throughout

morning to trawl through some of my

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IF YOU WORK WHERE YOU SLEEP, YOU’LL WAKE UP LOOKING AT YOUR WORKSPACE

favourites, looking at blogs, photography, art, design, fashion and toys. Anything that inspires me visually gets bookmarked or saved for later reference. But if I don’t set a specific amount of time, it’s very easy to waste a lot of time surfing!” Discipline is a critical thing in home-working. We’re often warned of the dangers of daytime television, that trips to the fridge will increase, or that family or housemates will infringe on your time. For many, however, it’s a case of all work and no play.

McPherson worked from home for years before moving to her own studio in Brooklyn. She recently realised that she hadn’t taken a holiday in years. “I’ve just returned from Tokyo,” she says. “It’s the first real holiday I’ve had in a long time. The beauty of it all was so inspiring. There are so many aspects of culture and artwork; I’m just absorbing it all and taking it all in. It’s great because I have two art shows that I need to start painting for that will take place around October and January, so it will feed that.”

One of the problems McPherson encountered when working in a studio apartment was the proximity to her work. If you work where you sleep, you’ll wake up looking at your workspace. For some, this leads to guilt - a feeling that you should be working. Separating your work from your personal space is an important discipline for designers, but most importantly freelancers. Alex Bellinger runs the website www.smallbizpod.co.uk, which gives advice to home-workers in all fields. “The biggest issue is not having a finite end point to the day and letting work infiltrate your free time,” he says.

“Rather than achieving a work-life balance, you can end up

domestic life by going for a walk each morning. He leaves via

focused entirely on work.

the front door, goes around the block, and enters the house

While this may be important as you build your business and

via the back door. For him, people working at home shouldn’t

reputation, it’s not sustainable. Make weekends sacrosanct.

miss the whole point of the exercise: “Just because you

Do not routinely work beyond 7pm.” Rob Walmsley at

work at home you don’t have to spend all day in front of the

Teacake Design doesn’t work in a fancy and posh living

computer,” he says. “We make it a flexible routine. At the end

room but works from his bedroom. He separates work from

of the day, that’s the whole point.”

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EXPRESS YOUR PERSONALITY WITH LIGHTING The exclusive guide of how to use light in your creative workspace

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SELECT A DESK LAMP THAT MATCHES THE REST OF THE ROOM’S DECOR. IT WILL MAKE IT MUCH MORE ATTRACTIVE IN TERMS OF A CONSISTENT FEEL TO THE DECOR

Your home office should reflect who

.it difficult to find room to work. Likewise,

you are and what interests you - both

the lamp should be large enough to

professionally and personally. With

provide the necessary light.

today’s huge array of lighting fixtures and designs, office lighting can help you do

For example, if your desk is positioned

just that! Whether you want a look that

in the living room, try to find a lamp that

is conservative, conventional, modish,

fits with the living room’s decor. It will

modern, ‘hi-tech’ or any other - there is

make it much more attractive in terms of a

sure to be a lighting solution for you!

consistent feel to the decor. There are a lot of shade options, as well. As with the

Most rooms have overhead lights already,

size of the lamp itself, the shade should

but when you are preparing your home

be proportionate to the base and the desk

office, you want to make sure that the

itself. Be sure that the shade does not

lights that you have are adequate for your

stick out so far that it interferes with your

needs. Many overhead lights can be too

workspace. Backlighting If you do a lot

florescent and harsh, or too dim and not

of detailed beadwork, drawing or design

good for detailed work. While it is good

sketches, a backlit desk or table can be

to have an overhead light source that can

a huge help. Simply install some light

be used if need be, in most cases you will

bars under the frosted glass surface to

need an additional source closer to your

provide yourself with a well-lit area. After

work surface.

spending hours working on small details, you will appreciate the extra lighting and

Desk or table lamps are perfect for any

how it helps alleviate eyestrain. Choosing

work space. If you do a lot of paperwork

the correct lighting for your workspace

or computer work, it is best to have a

not only makes the area more attractive,

light that is bright enough to illuminate

but it also gives you the light that you

your work area, but that does not cast a

need to work comfortably. One of the

glare on your paper or computer screen.

most common stressors when working at

The lamp should also fit comfortably on

home is the eyestrain that develops from

the desk without taking up too much

improper lighting. Be sure to protect your

space. A lamp that is too large can cut

eyes and give yourself the tools that you

into valuable desk real estate and make

need to successfully complete your work.

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MAKE The last few years have been a dramatic change in the magazine

Where as Cathy Olmedellas; founder of children’s book: “Anorak”

industry. Some areas have been a rebirth of creativity making

argues that craft is not dead. She quotes at a talk at the Arts Institute

publications stand out through design and image. Making

in Bournemouth on Tuesday 20th March: “You enjoy it more when a

Magazines 2012 event came and went in a blur of adrenaline

publication is crafted – you can smell it, feel it. I will never go digital,

and excitement. Full thanks to follow but a quick shout for

I hate PDFs”. An interesting opinion where as other designers such

all the speakers for giving their time, to everyone at St Bride

as Andrew Diprose (Wired) sees digital formats as excitement

for their help, and to the sell-out crowd. There’s something

for the industry – things move, and videos are easily uploaded.

special that happens when you get a room full of magazine makers in a room together, and Friday was no exception.

Danny Miller; founder and director of Little White Lies magazine.

Previously launched the publication as his final major project back

Not only was this event described as an “inspiring day” by Steve

in university: 7 years ago, which uses inspirational illustrations as

Fenn and Tom Pollard (Studio 8), St. Bride also opened their

opposed to photographs for content. Miller describes how difficult

letterpress workshop, allowing the audience to experience a

it was to obtain celebrity images, so a key solution was to illustrate

demonstration of a printing process. Gill Hudson, The Readers

the practitioners. Little White Lies now contributes to student

Digest editor and Jeremy Leslie discussed how to adapt for

competitions. One in particular is D&AD – giving students a one

producing content for the apple tablet. “Very impressive,

off opportunity to design a front cover for the next issue of LWL.

everything looks fantastic without a worry about paper stock” she says. An interesting point she put forward was the benefits of being digital; advertising for example: you’re now able to view

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PDFs and by clicking on a piece of clothing, you will be directed

Make Magazines 2012

to an external source where a user is able to purchase the item.

Simon Esterson speaks about Twen magazine; layouts being bold and compromising

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MAGS Editorial by Tom Berne (www.bernecreative.co.uk)

Photography by Phil Sayer (www.philipsayerpartnership.com)

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03 Make Magazines 2012 German designer Christoph Niemann speaks about his influences and styles of humorous illustrations.

04 Make Magazines 2012 Open questions asked to speakers by the audience.

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Creative

In Dorset

CREATEFUL, BOURNEMOUTH A small dedicated team based in Bournemouth who love to design, create and innovate for all things digital on the web and for mobile. They are a friendly and approachable team who love what they do and are always on hand to help their clients. When taking on a project, Createful work side by side with clients not only to provide a project solution, be it a website or a mobile application; but also to help them understand the needs of their business.

An interview with: Kris Bennet Creative Director

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THE MOST TREASURED FOR LUNCHTIME ACTIVITIES

What magazines do you read?

KB: Dot net mag, Apple ... Apple mags, Science magazines, otherwise not a lot really.

How important is the physical environment you work in?

KB: Ah yeah, very important yeah. You need to feel comfortable where you work. Make it fun, keep it relaxed and as a team, create an energetic environment.

Do you have a music policy in your studio?

KB: Yep, we have an iPod dock there, we play Spotify premium so yeah it’s very much a vibrant workspace I imagine.

Describe your best bit of furniture in the studio? Does it have personality?

KB: Probably my chair [laughs], why? Just because it’s comfy and it’s my own chair. No, being sat at a desk over 6 hours a day, you need a chair that you relate to as an individual.

Would the term ‘messy’ be described within your creative workspace?

KB: Fortunately disruptive [laughs] And does this change nearer to deadlines at all?

KB: No, not particularly, we try and keep it clean and overly nice, but I wouldn’t say it’s messy.

What’s the most treasured and well used piece of equipment in your studio?

KB: Ok, I must say the Macbook, iPad and iPhone. All Apple!

Actually, correction: the XBOX. Definitely the most treasured for lunchtime activities ... if we’re on schedule with projects.

Finally, have you got a tip for studio success?

KB: I think it’s about what people surround themselves with.

Having a fun, vibrant, open forum really is beneficial for feedback discussions, you know, don’t be afraid to try anything, take risks!

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CANDY BLACK DESIGN, POOLE Born from a mutual love and appreciation for flair in design, Graphic Designer Jason Rubino and Interior Designer Katie Culley joined forces to create Candy Black. A boutique studio focussing on bringing the latest design concepts to their clients in all fields of graphic, creative direction and interior design.

An interview with: Jason Rubino Director

JR: My fiancée and I settled down in the new workspace trying to think of names for the business. We had a whole list of things.

I was sat on the train one day and ‘Candy Black’ came into to my head. It reflects a fun, and vibrant character but also balanced with sleekness and professionalism. It is also a name that is unique with a bit of an edge.

What magazines do you read?

JR: Jeez … Monocle, Wallpaper, I-D, Icon...that’ll be it really.

Huck magazine, surf/skate magazines, that kind of stuff. More

N DY

Firstly, where does your name come from?

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Candy Black Design

Negative film of the creative studio

www.candyblackdesign.com

blogs than anything else…

R P EX W

Do you surf yourself?

JR: I don’t, I skate sometimes and ride my fixie, it’s something we’re interested in though because of the surf shop project we’re doing at the moment (www.wearecoast.com) and I like the lifestyle of skate/surf/beach, that kind of thing.

How important is the physical environment you work in?

JR: I think it’s probably one of the most important things because it’s an expression of what you’re trying to do, to both

Do you have a music policy in your studio?

colleagues and clients, it kind of reflects the work that you do

JR: Spotify and I make the playlists [laughs]. The music genres

and aspire to do.

range…sometimes it goes from classical to hip-hop, to rock and indie. Anything, depending on what I’m working on.

Describe your best bit of furniture in your studio? Does it have personality?

JR: This is actually my favourite piece of furniture, the chair I’m sitting on. It’s not the prettiest one, but it’s the most comfortable.

Other than that, I don’t know, my fiancée likes buying the classics. They’re nice to look at, but this is my favourite one

BLA

because I spend the most time in this one.

Would the term ‘messy’ be described within your workspace?

JR: At the moment, yes! Generally, it would be very clean and

tidy, everything else in this workspace, except the desk needs to be in its place.

What is the most treasured and well used piece of equipment in your studio?

JR: The Macs have got everything on it!

Finally, have you got a tip for studio success?

JR: Friendliness and the ability to compromise. That’s it.

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CA N D M A 40

N A S ’ F T O I N E O I R S ’ S U G E O R TY N I A TRY DO H W TO

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’S HIN C T A Y M R E E TH T EV GO IT ON

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CAMPBELL ROWLEY, BOURNEMOUTH

A design, branding and photographic agency committed to producing innovative, creative work of the highest quality. They work across a wide range of disciplines including brand creation and positioning, new media, publications, promotional materials, interior and exterior installations, exhibitions, packaging, and advertising.

An interview with: Grant Rowley Director

What magazines do you read?

How important is the physical

in your own home. So, given at people

GR: Oh blimey…broad range. I’ll start with

environment you work in?

are under pressure, they have a lot of

the Saturday Telegraph magazine and The

GR: Massively important because I think

work to do, what you want to do is create

Sunday Times magazine which we get

it’s almost like if it isn’t important, then

an environment in which they do things

in the studio; Creative Review and then

people wouldn’t look after their homes.

as nicely as possible. My thoughts have

things like New Level Photography, and

And it is important because you spend

always been, when I bought this space

we’ve got the British Journal Photography.

probably as much time at work, probably

it was a pub and I wanted to create an

We were big consumers of Grafik. Grafik

more time during the week then you do

open, clean, enjoyable, friendly, all those

is gone now unfortunately, but we’ve got

kinds of clichés, but yeah I think physical

quite a big stock archive so basically

environment is really important. One can

what we’re trying to do here is not just to

be inspired within his surrounding.

collect design magazines, but try to get a broader range of stuff that we like. I would

A short history on your studio?

say though probably over the past 2

GR: It was originally a Victorian Bank and

years, we read more online blogs than we

then became the headquarters of a motor

actually read physical magazines.

racing team in the 50’s. Then it became a

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I BOUGHT IT WHEN IT WAS A PUB series of bars, but I bought it when it was

GR: Yeah, the Pieff sofa I think probably.

GR: It goes in waves because we are a

a pub. Since then, I redecorated it to add

Really good, classic piece of 1960s British

photographic studio as well, when the

a bit of personality to the studio.

furniture design. Pieff were a really big

shoots are on; it could look like hell’s

company, they use purely rubber on the

broken loose. We are completely open

Do you have a music policy in your

base. Hence why we have three of them,

plan, and when people come in, I want

studio? How does it affect the way

so that would be my favourite piece I

them to see ‘This is what happens, and

the team works?

think. It’s so comfortable.

this is how it happens’. For instance,

GR: As loud as possible [laughs]. No, we

we have just done the branding for Arts

don’t have a music policy. There’s a radio,

Would the term ‘messy’ be described

Bournemouth and we’ve had the logo

some people listen to stuff when they get

within your workspace?

made in neon sign. So that’s been on the

their heads down; you know placing their

GR: I think that organised chaos would

studio lit up and people have been coming

headphones in.

probably describe it quite nicely, but we

in and they can see it happening, that’s

do try to keep it as tidy as possible.

how it should be, nothing’s hidden, you

Describe your best bit of furniture

can see it. We love what we do and it’s like

in your studio? Would you say it has

Does this vary coming to a specific

anything, if you’re proud of what you do,

some kind of personality?

deadline for a project?

then you have the right to show it off.

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What is the most treasured and well used piece of equipment in your inspirational workspace?

GR: Um, probably the kettle haha yeah making a lot of tea. So, as a single piece of kit, that is probably the most well used but probably the integrated workstation that we’ve got. We had that bespoke built by a company in Germany, and this basically means everything’s together, all the cabling goes through, so yeah in functionality that’s great!

Finally, have you got a tip for studio success for our readers?

GR: Make sure you work with people that you really like and respect and that works both ways. You should be enjoying your work and if your not enjoying your work, then it isn’t going to be any good.

01 Campbell Rowley The waiting lounge

02 Campbell Rowley A designers work space.

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SALAD CREATIVE, POOLE Salad, although they’re officially a design and marketing agency, They think of themselves as visual magicians and agony aunts for businesses with relationship issues. Whether those issues be branding, print, packaging, websites or anything else you can think of, they approach every project with enthusiasm, determination and ruthlessly high expectations.

An interview with: Andy Russell Head of design

What magazines do you read?

Would the term ‘messy’ be described within your

AR: Jesus that’s a question…what magazines do I read? Well,

creative environment?

we’ll go with the magazines we have in the studio, we’ve got

AR: Um, it’s lived-in. I wouldn’t say messy but kind of lived-in.

Creative Review, Eye Magazine and we did have Design Week,

Everywhere has its place but it’s not so tiny where you feel

but we’ve unsubscribed to that because they’re online only

you can’t work in here or eat your lunch. So yeah, it’s lived-in.

now. The other one that we’ve got which is now unsubscribed

That’s a good way to put it.

to is Grafik Magazine. And I personally occasionally buy Monocle Magazine. Other than that in terms of leisure mags,

What is the most treasured and well used piece of

outside of work…um I either buy Empire Magazine; which is the

equipment in your studio?

film publication or Men’s Health. They’re the only other two that

AR: Um, probably the Macs to be fair. I mean if we didn’t

I really read.

have those, we wouldn’t be able to do our jobs quite as easily.

We’ll have to go back to pen and paper, which coming from a

How important is the physical environment you work in?

generation of computers, I would struggle with. So yeah, using

AR: My surroundings? Massively important! Because, well

your computer is your resource for your emails, it could be a

it’s where I spend most of my time…here…90% of the day

source of inspiration, and it gets the job done. I would say that

and therefore it has to be an interesting environment and a

would be the most valuable thing in here. You can never go

comfortable environment, whether you are a surfer, whether

wrong with a good stereo, a telephone; that’s always handy so

you are in the creative industry, it has to be somewhere you are

when computers don’t work, the telephones sometimes do.

comfortable with. So yeah, massively important!

That, and your mobile. Other than that, the kettle!

Do you have a music policy in the studio?

AR: Well, other than Dan who is our music fiddler, we don’t have a policy as such; we listen to music we like. On our Friday afternoon, we either have an ‘old music Friday’ which is where everyone nominates a track that has to be over 2 years old. Or we do ‘new music Friday’ which is where we have to find music that is not older than a year old and none of us have heard before. So that’s probably our only policy. That, and it doesn’t get too loud to p**s off people downstairs [laughs].

Describe your best bit of furniture in this studio? Does it have personality?

AR: Best bit of furniture in the studio…Er…my favourite bit of furniture in the studio is probably that plant chest. Just because it’s old, with rust, and it’s kind of got a bit of character about it.

Yeah… but I don’t know what the best piece of furniture is. It’s always good to have a good chair; your back needs support along with your neck. Other than that I wouldn’t know.

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01 Salad Creative Inhouse poster www.saladcreative.com

02 Salad Creative A studio with personality

Finally, have you got a tip for studio success?

AR: Um I guess, well it’s an important environment, don’t prioritise the nice coffee table or the first ball table over other necessities. A cool working environment is good to have, but it’s also got to be practical. So a studio has got to have somewhere where people can actually work. And work with lots of different environments and circumstances. When it has to be quiet, it has to be quiet, when it needs to be professional, it can to be professional. So yeah, I would say don’t prioritise all the ‘singing and dancing, and look at me’ studios over a practical studio.

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RED WHITE CREATIVE, BOURNEMOUTH

What magazines do you read?

OK: I’m a photographer so I read Professional Photographers and other photography magazines.

An energetic and diverse group of creative professionals based in Bournemouth on the south coast of England. Their creative design agency offers design concepts, product design, web design, videography, photography, printing, online marketing and much more.

An interview with:

OG: As a product designer, I enjoy to read Wallpaper generally.

There are more, but I frequently surf online and read blogs, events, keep up to date with new design stuff, pixilations, not too much magazines though, generally all on the Internet.

How important is the physical environment you work in?

OK: It’s very important where you work so if it’s cleaned as opposed to messy, then you would feel more refreshed and probably work better. So this is what we’re trying to do here, keep it clean and tidy so it’s more refreshing; as you can see, the studio is all white, so the environment is extremely important

Ozan Kulaksiz & Onur Guvenc Directors

for us, it embraces the ways us creatives think.

Do you have a music policy in your studio?

OG: Music policy [laughs], I like to listen to Jazz, afternoon is likely to be a bit of rock. Because having painted the walls all in white, it kind of helps you develop new ideas. Also, the personality of the studio impacts your ways of working. You feel more relaxed with Jazz so yeah that’s very important for me.

33 || Espion Magazine

OK: Jazz in the morning, rock in the afternoon...so if you’re tired in the afternoon, a bit of rock will bring you back into the appropriate frame of mind.

Describe your best bit of furniture in your studio? Does it have personality?

OG: I would say it would be our sofas and chairs. Have a look at our sofa we have in the photography studio. It’s comfortable, and amazing to look at.

OK: When we opened this studio, we tried to make everything in white so it was quite hard to find white floor, white tables and other furniture in that colour, so it may not have too much personality, but it’s all-important for us and all reflects how we work. We like to think there’s a reason for everything.

Is there a reason why you chose white as a colour scheme, as opposed to blue or red?

OK: It’s nothing to do with our name; Red White. You can see

01 Red White Creative The meeting room and photography studio www.redwhitecreative.co.uk

there’s no red colour here, even though we are using orange as a secondary colour. But white represents new, clean, and fresh ideas. The meaning of colour here is important for us.

OG: I agree. If there is no colour and if you are an agency, it’s like a white page, it’s a blank surface that allows us to start from fresh ideas. For me, white isn’t a colour, for instance red, green or brown can sometimes make you feel hungry, but white, it’s a start to idea generation.

Would the term ‘messy’ be described within your creative workspace?

OK: Not messy at all, we are quite tidy. As you can see, there are a few pieces of paper lying around here but usually we clean it regularly. So we try and keep it as tidy as possible.

OG: We try to be organised too. When we come in the studio in the mornings and if we left it messy, it’s not a great start to the day, but having a clean environment sets you off for the day.

Does this change when you are coming close to a deadline or are you quite organised?

OK: I’m quite messy when I work, well, especially when I do photography; product photography to be precise. Lights and cables everywhere but when we finish, we clean everything. It’s like a rule.

Finally, what is the most treasured and well used piece of equipment in your studio?

OG: At the end of the day, we are a creative agency, what we do is here and so the main stuff is the Macs.

34

ORBITAL DESIGN, BOURNEMOUTH Orbital is a creative marketing communications, graphic design and web site design agency. Helping to promote and sell client products and services through original and creative ideas informed by experience in marketing, brand communications and web design.

An interview with: Justin Smith & Helen Pegler Director and Creative Director

35 || Espion Magazine

1964 LAM

01 Orbital Design Designer workspace www.orbital.co.uk

What magazines do you read?

like that, so I wouldn’t know [laughs].

JS: I’d say it’s very important. As you

JS: I probably only read one regularly

But I keep an eye out you know, on

can see, we have a shabby chic look;

and that’s New Scientist Magazine.

my iPad, I have a load of freebee,

made in Boscombe, which is interesting

Yeah, that’s the only regular magazine

downloadable bloggy type magazines

[laughs] but it’s cheap basically. It’s a

that I read. I read an awful amount of

that you can use on flip book and stuff

nice place, got a lot of air, got a lot of

stuff online, but they’re not regular or

like that, so I flick through those, just

space. We’ve certainly got more room

magazine based really or anything like

soaking in what’s going on I guess. But

than we need. I think it’s tidy but untidy

that. Mostly blogs, articles and videos

as far as reading anything, no I only

if you know what I mean. If there’s a

and things like that. I have an interest in

read extremely boring stuff. Oh and

client that comes in, the studio will

one might call the religion and non-

scootering magazines, I have an interest

look at it’s best, but most of our clients

religion culture walls, I read a lot about

with Lambrettas.

are London based or abroad, so they

that which is quite entertaining. But

HP: I flick through rather than read …

don’t tend to come in, but yeah I think

yeah, I have an interest mainly in history

Wallpaper, Creative Review, then more

it’s very important. That’s why we have

and science more than design stuff. It’s

like Interior design magazines.

no pictures on the walls. I think that if

funny but I don’t think design has really

you have pictures on the walls, you are

changed in the last 10 years, but then

How important is the physical

set. Once you have images on walls,

again I don’t read Design week and stuff

environment you work in?

they tend to stay there forever. We have

38

a fairly clean and open environment,

a seat and it doesn’t move much often

first kind of IMAC’s and about 10, 12

which makes it a bit more sparky to

[laughs]. It’ll be featuring in a lot of

years old. The other things we’ve got

walk in. People say why don’t you stick

photographs. But actually, what is the

treasured is just things, nick nacks for

some of your best pieces on the wall?

best piece of furniture? My chair…or

instance that Eiffel Tower there built out

Well no, because you look at the same

my Lambretta.

of forks for a restaurant in Paris.

thing and I think you get stuck to the

HP: Definitely the Lambretta. Full of

HP: Most defiantly the server, but the

same style.

inspiration and has its own personality.

MAC’s get updated quite a lot, so they

HP: Yes, very important. As Justin

come and go.

says, it depends what day you come

Would the term ‘messy’ be

in. However, I would quite like pictures

described within your workspace?

Finally, have you got a tip for studio

on the walls, and that’s where I think

JS: Linslie’s desk is horribly messy.

success for our readers?

myself and Justin differ. .

Mine Is reasonably tidy, but I think

JS: This is a funny one this one isn’t

where it’s messy is the unseen bits.

it. It’s quite difficult because what you

Do you have a music policy in your

If you look under people’s desks,

find is there are two different kinds

studio? How does it affect the way

if you look at the state of the wires

of agencies. There are agencies that

the team works?

underneath there and then our under

charge a lot and do an awful lot of

JS: Legally we do not play the radio,

stairs cupboard, it’s a f**king mess, I’m

their own marketing and quite often

do we? But really, I think we need a

telling you. I’ve recently taken a lot of

don’t particularly do a good job. Then

music policy because the music is

admin stuff, so my brains getting a bit

there are companies like ours where

pretty vile if you ask me. We did have

more untidy like.

we charge a fair bit of money, we do a

a time where people brought their own

HP: Yes! I would say the mess is quite

good job and we look after our clients

CD’s in, but Linslie kept bringing in Def

constant to be honest. Some members

to almost an insane degree, you know

Leppard albums and it started getting

of staff have a nice, clear workspace

going that extra mile, very regularly

a bit heavy so we decided against that.

that reflects their excellent working

without blinking. It costs us money

It’s a nightmare you see. I like radio 4,

methods. But to be honest we all do a

but in some ways, it’s better to spend

because I’m like that; boring. Yes, radio

good job.

that money to look after clients and

4 or radio 6. We started listening to that

get recommendations then to spend

and it was actually quite good. But I

What is the most treasured and

lots of money on your own marketing

don’t know why we switched now, we

well used piece of equipment in

to pick up new clients, do you know

turned it off.

your inspirational workspace?

what I mean? So, I think our marketing

HP: I wouldn’t call it a policy. We went

JS: The server is probably the most

budget goes into looking after clients.

through a phase where we listened to

treasured and well used definitely

That’s why we’ve had clients for 12-13

different radio stations and then CDs;

because without it, we’d be dead. It’s

years and get an awful amount of

yet at the moment we’re just on radio.

backed up constantly. We’re not very

recommendations. So yeah, look after

To be honest, I’m so focused on my

loyal with our Macs to be perfectly

your clients. As we say, keep your

work that it’s just in the background so

honest. If it dies, we’ll just get rid of it

enemies close [laughs].

its irrelevant for me.

and get a new one, but the server, we

HP: It’s one of those ones that you

really need to look after it, that’s the

need time to think about.

Describe your best bit of furniture

main thing. I don’t think there’s anything

in this studio?

else. Saying that, we’ve collected the

JS: 1964 Lambretta. Defiantly the

5 iMacs there, they’re not used but

best piece of furniture because it has

they are quite treasured - they’re the

39 || Espion Magazine

THE SERVER IS PROBABLY THE MOST TREASURED & WELL USED

3 SIDED CUBE, BOURNEMOUTH 3 sided cube are based in a new office in Bournemouth. They feel that it’s the little details which make the big difference.

Whatever they’re doing, whether it’s building a website or mobile app, the team gains so much more satisfaction from producing 1 quality piece of work than 2 average ones. 3 sided cube feel that their attention to detail, extra quirks and slightly worrying need to be spot on gives them the flare that sets them aside from the rest.

An interview with: Duncan Cook Director

What magazines do you read?

DC: Not a huge amount to be honest.

Most of my content is digital. I don’t read a huge amount of magazines.

So everything I consume is digital you know, blogs, things from twitter, and posts from Facebook. That kind of stuff.

How important is the physical environment you work in?

DC: Very. I think that if you’re employing creative people, creative talent; they love design. You know, it’s not just necessary creative talent, but they love design. They love how things are. You spend how much time in an office? Why would you want to sit in a place that’s kind of boring, grey and dull? You want to sit somewhere that’s inspiring and fun to come in and feels like home, it’s massively, massively important. And also it’s an opportunity to attract talent.

You know people make decisions not just based on you know, the simple things like finances, but they make decisions on a whole bunch of things and I think office space is one of them, for sure.

How would you describe your music policy in the studio?

DC: We don’t like headphones because headphones are a killer for office atmosphere. The guys put their headphones on every so often when

43 || Espion Magazine

they need to zone out. But basically, anyone can play anything, whenever they want. We use Sound Drop and Spotify and we share out with loads of people, but pretty much what anyone wants to listen to, we listen to.

Describe your best bit of furniture in your studio?

DC: Well I wouldn’t say it’s one piece of furniture, I love these desks just because they’re custom made by a friend’s brother. You know, if we went to a shop and bought them, they wouldn’t do what we needed to do.

They’re not a styled piece of anything like that, they’re just solid pieces… they’re nice. One of the big things we want to organise in this kind of format, which is 2 by 1. Most desk spaces aren’t 2 by 1 so you’ll have the big space in the middle or something like that. So, it allowed us to set the ratios meaning we can have it in that format, which is good.

Would the term ‘messy’ be described within your workspace?

DC: Yes [laughs] mainly on my desk, and probably Dan’s desk. I think when you are more busy, you spend less time…mess is always just a personality thing, how you live and how important you see mess, but yeah I would suggest when you have lots of projects

01 3 Sided Cube Office space with green astroturf www.3sidedcube.com

44

and lots of deadlines coming out,

print project, we would try and refer to

simple things go out the window, like

another company,

cleaning your desk, but we do try.

Finally, have you got a tip for studio What is the most treasured and

success for our readers?

well used piece of equipment in

DC: It’s a big question; I think its just

your studio?

people bringing in the right people.

DC: It’s got to be our Macs. We haven’t

You’re only as good as the people in

got a huge amount of equipment you

there and the quality of your work is

know, we’re a digital agency so it’s just

only good as the talent. So, if you focus

our computers.

everything around there, how can you get that talent, how do you keep that

Say we went back a few

talent, how do you find that talent, how

generations when Macs and

do you keep them motivated? Because

computers didn’t exist, how do you

all your work just streams from that. If

think your company would be able

your focus is on building a really nice

to generate business?

office, and that’s all you’re focused on,

DC: We would be out of business.

then you’re screwed. It’s the people in

We specialise in mobiles, websites,

the office that are mostly important.

we do web applications, we don’t touch anything that’s not digital. If a client rang in and enquired about a

45 || Espion Magazine

02 3 Sided Cube Creative enviornment

03 3 Sided Cube A designer in action

WE DON’T TOUCH ANYTHING THAT’S NOT DIGITAL

RED WEB, BOURNEMOUTH An award winning digital agency specialising in website design and build, who are situated in the centre of Bournemouth town. Delivering creative and technical ideas based on the down to earth principle of achieving the client’s objectives.

Always. With highly effective and efficient project and account management to ensure Red Web are on brief, on brand, on budget and on time... every time.

An interview with: David Burton Head of innovation

01 Red Web The thinking lounge www.redweb.com

YOU CAN ARGUE WITH WHOMEVER YOU WANT, NO MATTER HOW SENIOR THEY ARE. YOU CAN KIND OF BEHAVE DIFFERENTLY AND ENVIRONMENT IS KEY TO BEHAVIOUR

What magazines do you read?

different things, you can argue with

workshop, kind of working together so

DB: Erm, magazines we get at work

whomever you want, no matter how

you work with the clients and they feel

would be New Media Age, Computer

senior they are. You can kind of behave

like they’ve helped make the decisions.

Arts…it’s a bit shit isn’t it? A bit entry

differently and environment is key to

Sometimes we have meetings in the

level but there’s Interaction magazine,

behaviour in this industry I think.

car park, or we have meetings on the

which is quite cool. And personally, I

beach just to jolt people and to not

like to read fly-fishing magazines and

Behind you, there is a fantastic

necessary do something like they’ve

we’ve just a subscription to 3D artists

piece of wall art. How do you think

done before.

magazine because we are building our

people act or focus differently

3D printer.

within a colourful surrounding?

How would you describe your

DB: I think upstairs is plain although

music policy in your studio?

How important is the physical

we’re working on it. I don’t think it’s

DB: The difficulty with the music

environment you work in?

about colour, we have some horrible

policy is A) you need licences to play

DB: Very important. I’ll show you

stools, which look good but you can

music, even radio. Spotify is illegal

around upstairs after this, but upstairs

only sit on them for a couple of minutes

to play in an office environment, it’s

in our studio, it’s kind of our engine

before your bum goes to sleep. So that

against the terms and conditions of

room. So that’s where a lot of the stuff

means, meetings only last 10 minutes

Spotify. But I’m sure everyone you’ve

is built but down here in the innovation

long. Now, round the way here, we

interviewed will play Spotify though.

lab, we try to make it as different as

have sofas and white boards which

The difficulty is and you’ll probably

possible. So when we’re down here

is where we work with clients and it’s

see this upstairs is that, big open plan

having creative brainstorm, having

very different if you work with them

studio, if you have music at one end,

to break down projects, people are

there as opposed to a meeting room,

at some point it becomes too quite to

shocked into…they feel it’s different,

because a meeting room is more

hear properly and too loud to ignore.

so they act differently. So you can say

formal. And this space is more of the

The other thing with big open studios

48

is deciding what to play, so we did decide to build a system there, a box called Radio HQ. We built a system with one of our content management systems where anyone can log in and make a half hour playlist. And then those half hour playlists are scheduled, so every minute of the day there’s music that someone’s chosen. And then occasionally, every week or so, we have a theme day and competitive playlists. It’s quite difficult to make exactly 30-minute playlists so we fill in the space with people recording their own adverts, promo’s and stings.

Describe your best bit of furniture in this studio?

DB: No [laughs]. We don’t go for very posh, fancy furniture. We don’t think our studio would win any beauty competitions. It’s not about showing off, some of the brochures in the studios are lovely and it’s all a bit of a beauty competition with shiny new Macs. For us, the studio is a working environment for people to do their best and for us get excellence out of them; it’s not about aesthetic and beauty pageant. So I think our best bits of furniture are things that kind of help us work better, so for me I think it has to be the sofa behind me [laughs].

I got the desktop there, the laptop, table, and I kind of do different things in different places and it gives me headspace. It’s like a physical space, so if I’m reading magazines, news feeds, kind of thinking research space, I’ll probably sit on the sofa. If I’m doing more admin and communication work, I’ll sit there, and if I’m working on ideas, I’ll work on the laptop in the coffee shop. I find that it’s an environment thing; different spaces fore different bits of work helps me focus better

02 Red Web Discussing ideas on a creative wall

What is the most treasured and well used piece of equipment in your studio?

DB: Probably my sketchbook.

I’d rather leave my Mac than my Would the term ‘messy’ be

sketchbook. I think the speed, ease

described within your workspace?

of use, small, battery never runs out.

DB: At the minute yeah [laughs]. I

Yeah, it’s more personal.

think it is a bit messy at the minute but it’s controlled mess. I think that a

Finally, have you got a tip for

lot of people in our creative field think

studio success?

they need to be messy and get the

DB: [Long pause]…Just keep it fun I

messy reputation but I think it’s not

think. Get as much space as you can.

necessarily the case here. Because

I like having lots of space. When we’ve

my job title is head of innovation, that’s

had our studio crowded, it’s been really

about getting things made, coming up

difficult to talk to people and you feel

with ideas and then getting them ideas

you’ve interrupted people when you’re

made, making them happen. And I

talking across desks. If we could start

think efficiency and getting the work

from scratch, I’d have my office by the

done is about organisation. So yeah,

kitchen so I could interact more with

bits around here may seem messy but

people. Yeah, get as much space as

it’s actually quite organised.

you can and keep it fun.

51 || Espion Magazine

BRIGHT BLUE DAY, POOLE A creative agency delivering award winning integrated communications. By fusing data and consuming insight to tell stories, and delivering innovative brand experiences that reach across channel, media and device.

The team believes successful brands exceed expectations by delivering little shots of brilliance every day. That means engaging with people in their everyday lives – at home, at work, on the move.

An interview with: Liam Forrest Creative Director

Do you read magazines?

LF: Yes, primarily Creative Review - it’s good for a general overview of what is going on the industry - we also get Marketing Week and Campaign and also subscribe to a number of periodicals - such as the Directory. The role of magazines has changed over the years as everything is available, pretty much instantly, digitally through either websites or social channels such as Twitter which is a great resource for finding out the latest in our industry (if you follow the right people!). Networking is crucial in this business.

How important is the physical environment you work in?

LF: Very, we are still primarily studio based and do spend an awful lot of time at work so the physical environment has to be right. Ours is bright and airy with loads of breakout spaces for quiet time and brainstorming/idea generation.

Do you have a music policy in your studio?

LF: We don’t have a music policy - people bring in personal iPods and can listen to them while working.

01 Bright Blue Day A team of creatives in action

54

KEEP IT RELAXED BUT PROFESSIONAL - WE ARE VERY LUCKY TO WORK IN THE INDUSTRY WE DO AND PEOPLE SHOULD ENJOY COMING TO WORK.

Describe your best bit of furniture in the studio? Does it have personality?

LF: I don’t think there is a “best bit of furniture”. Most of the team

02 Bright Blue Day A team of creatives in action

are more attached to their tech pieces and, as everyone has their own Mac, I would say that these are the best bits of “furniture” in the department.

Would the term ‘messy’ be described within your creative workspace?

LF: As we are all individuals the workspaces in the Creative department vary in levels of messiness. Personally my workspace varies between tidy and something that resembles a teenagers bedroom - this is usually in proportion to how busy I am, if I am very busy then it tends to be messier.

What is the most treasured and well used piece of equipment in your studio?

LF: My MacBook Pro and the current layout pad I am using and we all value our brains - we keep them nourished, fed and inspired.

Finally, have you got a tip for studio success?

LF: Keep it relaxed but professional - we are very lucky to work in the industry we do and people should enjoy coming to work - we are not accountants and I believe that the workspace should reflect this - the environment should be creative with breakout rooms and areas for teams to work in when required.

55 || Espion Magazine

03 Bright Blue Day A mysterious gallery

56

57 || Espion Magazine

DOT-ONE DESIGN, BOURNEMOUTH An energetic and diverse group of creative professionals based in Bournemouth on the south coast of England. Their creative design agency offers design concepts, product design, web design, videography, photography, printing, online marketing and much more.

An interview with: Luke Patton Creative Director

What magazines do you read?

Describe your best bit of furniture in the studio? Does it

LP: I read quite a few to be fair, Computer Arts Magazines,

have personality?

Creative Review, How and Art Box, also love a bit of New

LP: It would have to be my desk. Built with my bare hands

Scientist. That’s about it.

in the early hours of the morning, this desk has done me no wrong. Put together temporarily to enable me to have an

How important is the physical environment you

effective workspace until the funds were there to buy a new

work in?

one. However, this desk grew on me. A little rough around the

LP: Yeah, it’s pretty important. I find that being in my

edges and still with no coat of paint it still does a brilliant job.

workspace enables me to work a lot more efficiently. Being a creative, you need inspiration around you.

Would the term ‘messy’ be described within your creative workspace?

Do you have a music policy in your studio?

LP: Well during projects it can definitely get pretty messy

LP: Yeah, good music only please.

(constructive mess as I like to call it), but once a project is

58

TAYLOR YOUR STUDIO SPACE TO YOUR PERSONALITY AND IF YOU DON’T LIKE IT, CHANGE YOUR PERSONALITY. 02 Dot-One Design Photograph of letter press blocks and graphic markers

complete everything goes back to where is belongs. Definitely not a fan of mess, especially black fluff on cream carpets.

What’s the most treasured and well used piece of equipment in your studio?

LP: It would obviously have to be the MacBook Pro. Couldn’t really imagine what life would be like without it (as a designer).

Finally, have you got a tip for studio success?

LP: Taylor your studio space to your personality and if you don’t like it, change your personality.

59 || Espion Magazine

WINNER ISSUE #1 (@HarrisonMBlake)

The Espion team have organised a Twitter competition, which

competition is featured in our first issue, as you can see above.

enabled design students, and free lancers to participate in for

Finally, we would like to say a big thank you to all the designers

the chance of winning 4 hours of surfing lessons next month!

that participated. The Espion team are currently analysing and

The prize brought pure excitement for our followers as summer

sorting out future events for issue #2. Please tweet us of any

approaches. Furthermore as promised, the winner of this issue’s

ideas or prizes you’d like to win!

The Espion team (@EspionMag) 60

SET UP YOUR OWN DESIGN STUDIO

Starting a design business doesn’t mean it has to be a leap in the dark. Many have done it before you and can offer advice to light the way.

Chances are you’ve thought about

investment. PCs can be cheaper to buy,

what would be ideal. Older versions of

setting up your own studio. From a

easier to build and repair, and you’ll find

popular applications can be found cheaper

corner of a bedsit to a sleek shared

thousands of deals on the high street

and can be an effective way of getting

designer pad in trendy Hoxton, it’s a

and online. However, precious work

discounted upgrades at a later date. Most

dream many share. Now, for more and

time can be eaten up by combating

manufacturers offer 30- day-trial software,

more creatives that dream is becoming

computer viruses, spyware, adware and

which is a great way to seek out possible

a reality, as technology breaks down the

avoiding identity theft.

cheaper alternatives.

distinction between the corporate

Getting an internet connection and

big boys and those working from

maintaining an online portfolio are vital

a more modest studio. As graphic

if you want your business to prosper.

designer and recent winner of the

Net4now is an excellent source of user

prestigious ‘Creative Future Award’

feedback when deciding on an ISP and

Zak Kyes says: “Now that everybody

website host. The days of dial-up are over,

has a laptop it’s possible to never

so look for a broadband deal that reflects

leave your studio, or to always bring

your likely usage. Buying a domain

it with you. And email makes your

name and web space can be daunting,

location irrelevant, so everything is

and personal recommendations are a

possible.” With just a bit of hard work,

good place to start. Check the small

good research and the basic tools

print before signing up to a deal,

of the trade, you could be joining

because annoying banner or pop-

thousands already working successfully

Apple Macs are prevalent in the creative

up ads and bandwidth limitations aren’t

from their own studio spaces.

community - they look great and their

ideal if you’re trying to look professional.

Before deciding on a suitable location,

intuitive and stable operating system

consider the basics: what you need to

means that they’re good performers. On

get your studio up and running. Think

the downside, they can be expensive,

seriously about whether you want a

and when good Macs go bad they can

PC or a Mac before parting with money

be costly to get fixed. As for software,

for what is possibly your single biggest

consider what you actually need, not

Turn over

62

01 Dot-One Design Photograph of important equipment a designer must have.

STAY CONNECTED Building your own website is easier than ever and the chances are you already know somebody who’s done just that.

Ask around - some might be willing to help for a small fee. A good free invisible web counter, such as www.statcounter. com, will give you valuable information about visitors to your site and the effectiveness of any client mail-outs you might manage to send out.

A golden rule is to always back up your important files, artwork, accounts, and contacts, ideally on to an external hard drive, or burn them to CD or DVD. Get into the habit of doing this regularly. A laptop will give you portability but is more costly and has limited upgradeability.

Consider a USB memory stick or MP3 player you can pop in your pocket to transfer and store work in progress.

Digital cameras continue to fall in price as megapixels rise; get one, because they’re a great way of sourcing images without having to rely on Google or costly photo libraries. Also get a Wacom tablet if you’re serious about starting your studio: the Graphire4 range has a budget price but performs perfectly well, while the Intuos3 range adds pro features and shortcuts that will enhance your workflow significantly.

63 || Espion Magazine

Illustrators tend to spend a long time sitting and so it’s important to get a good chair that supports the back it’s well worth the investment.

BUSINESS BASICS

RELAXING SPACES

CREATIVE SET-UP

Your next consideration is where to

Health and safety issues are paramount,

The next step on from working in a

base your studio. Home is the obvious

even if you are your studio’s only

shared studio is to consider forming a

option, with relatively low running costs

employee.

illustrator

collective. Black Convoy, Peepshow

and no rush hour unless there’s a queue

Nishant Choksi offers some practical

and BWB have all enjoyed success

for the bathroom. Jonathan Hitchen,

advice: “It’s important to designate a

working as teams. BWB’s Rob Hare

Head

Liverpool

permanent, separate and comfortable

sees the benefits of forming a collective;

School of Art & Design, has already

workspace, not, for example, your

“Primarily, collectives are such a good

seen a trend among his students for

kitchen table! You can then surround

idea because they bring a group of

working from home: “We have already

yourself with things that you find inspiring

creative ideas to one canvas. We are

noted the increasing trend for students

as well as the practical things such as

all more than adequate with design

to create work at home using their own

bookshelves for reference materials.”

solutions individually, but collectively we

equipment. Laptops and memory sticks

Nishant continues: “Illustrators tend

like to think of ourselves as a stronger

make it very easy for students to bring

to spend a long time sitting and so

unit.” His colleague Kev Speck agrees:

work from their home studio into college

it’s important to get a good chair that

“It can be a lonely experience freelancing

for better quality output.”

supports the back - it’s well worth

on your own, so meeting up and working

While working from home may seem a

the investment. In my first year, I was

with like-minded people once or twice

cost effective way of running a studio,

working from an old dining table chair

a week is a great way to stay sharp.”

it’s vital to make a clear distinction

and developed a bad back and repetitive

BWB’s Matt Campbell adds: “I feel just

between home and work - avoiding

strain injury in my hand. I also invested in

having people around you who you know

all those daily distractions is a must.

a matching ergonomic desk and sought

and work well with is a bonus. There

Illustrator Lorna Brown works out of the

advice on the correct sitting information

have been a lot of times where one of

North London home she shares with her

from a local doctor.”

us was lacking maybe a little inspiration

professional

An organised workspace is key to

and needed input from someone else -

working

that’s not really something you can do

Lorna

of

Department

at

photographer

produces

delicate,

husband. detailed

Award-winning

efficiently,

especially

from

watercolour illustrations drawn from life

home. If everything takes minutes rather

on your own!”

and inspired by nature. “Working from

than seconds to find then you’re wasting

Liverpool-based design team Black and

home, I have to be pretty strict with

valuable creative time. Sarah Howell,

Ginger eventually set up a dedicated

myself and keep to my routine: up at

another successful illustrator, agrees. “I

studio of its own, as Matt Wardle

7am, work by 9am. Without these times

work from a home studio, which is so

explains: “We started off under the stairs,

to give my day structure I’d be too easily

great - the positives definitely outweigh

quite literally a broom cupboard, but

distracted by all things domestic.

the negatives.

bigger clients meant better presentation.

64

ACKNOW LEDGE MENT Front and Back cover

Creative Director

Typography

Candy Black Design

Tom Berne

Helvitica Neue

Director: Jason Rubino www.candyblackdesign.com

Steelfish Senior Designer

ChunkFive

Tom Berne Inside cover

Printing

Candy Black studio

Editorial

Dayfold Print

Orbital design studio

The Drum

www.dayfoldprint.com

Computer Arts

The Digital Bureau

Creative Boom

www.be-printed.co.uk

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Supplied by Elliot Baxter

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65 || Espion Magazine

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Designed by Tom Berne (www.bernecreative.co.uk)

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