AN ECLECTIC CREATIVE SHOWCASE
THIS ISSUE:
BACK TO MYSTERY CITY
03
“Here’s to the crazy ones, the misfits, the rebels, the troublemakers, the round pegs in the square holes… the ones who see things differently — they’re not fond of rules… You can quote them, disagree with them, glorify or vilify them, but the only thing you can’t do is ignore them because they change things… they push the human race forward, and while some may see them as the crazy ones, we see genius, because the ones who are crazy enough to think that they can change the world, are the ones who do.”
Steve Jobs 1955-2011
WELCOME
WELCOME TO THE THIRD ISSUE OF AMPERSAND MAGAZINE, A SHOWCASE OF SOME OF THE FRESHEST CREATIVE TALENT FROM AROUND THE WORLD.... Unbelievably, this third issue of Ampersand seems to have arrived even quicker than the first two! (We promise it has been a month since the last!) Perhaps the time seems to have slipped by quicker due to the overwhelming amount of things we have been doing this month. In the time since issue two hit your screens we have been attending art gallery shows, speaking to creatives, and generally being inundated with contributions from the creative world. We have been once again overwhelmed with the tireless work that our contributors have put in to help pull the third issue together, and for that we all thank them once again. But do not forget, that the magazine does not exist without the contributions (well it would, but no one wants to hear our Editor rant on over 90 pages!). Last Issue we also beta tested a downloadable version for mobile devices and we would like to thank those that actually paid for a downloadable copy of Ampersand, because of you fabulous people we are actually from this issue we can announce that from now on each issue will have the new price of just £1! (roughly $1.50/€1.30) We think that for this price to own your own copy of Ampersand to keep on your brand new iPhone 4s, iPad or Android based mobile do-hickey! Well, onwards into issue three now, and don’t forget if you want to get involved and showcase your work in Ampersand, you will find all the links on the back page! Ampersand Team
FROM THE DESK OF THE EDITOR WITH LOVE... Being a designer this past month has had it’s ups and downs. Many good things have happened, from meetings in London regarding the future of Ampersand, private views at galleries that are far too nice and pricey for the likes of me and most interestingly I have started getting freelance work....after a dry run of 4 years! (See there is always hope guys!!) Though the biggest thing that affected me this month has been the death of former Apple chief, Steve Jobs. As a creative person, and most probably if you are reading this you are also a creative person, Steve Jobs has had a huge influence over my life and career. He may have even touched your life in a small way if you are one of the over a billion people that have owned one of Apple’s products. My love affair with the generally over priced, under powered, and over designed products from Apple stems from my first steps into the design world. The first time I stepped into a design studio when taking a tour around a university I was interested in attending some ten years ago, I saw a fantastic little colourful computer sat on the desk. Now, at this point you have to consider I went to a school that only had its first PC the final year I was there at 6th form, this little colourful computer may as well have been from a science fiction show. I had known of Apple before, but I was always a bit vague as to what was different or special about them as a company, and as we all know now: What made them different? Steve Jobs. Now, for all the lovely stories about what a great man he was that have been told since his passing, there are probably double the amount saying what a tyrant he could be to his employees, switching from Mr Nice Guy to benevolent dictator in a flash. Now I am not saying this to discredit a person so soon after his passing, but to rather highlight the difference he made. He was not a grumpy man, far from it, he was, and always should be remembered for his incredible passion for creativity, achievement and life.
It is this ethos of passion for design, creativity and life, that I have recounted to many people this month as it seems that everyone has seemed to ask me the same question, ‘how do you succeed in the creative world?’ Now if you think of the millions of people in the creative industry trying to make a name for themselves, you have to evaluate what you consider is successful. Is making a steady wage a success? Is having a couple of pieces of featured in an exhibition a success? Is being a person who inspires others to be creative a success? Is having fame and celebrity a success? Whatever you may regard success to be, there is one way to achieve it. Passion and hard work. This is the answer I have given to a multitude of people this month, ranging from students, to friends, colleagues and acquaintances. I do not think you can achieve success without believing that you can achieve it, and putting in the time and effort required to deserve it. Whilst watching Exit Through the Gift Shop recently, it reminded me just how far you can get if you believe in yourself and put in the work (or rather in ‘Mr. Brainwash’s ‘ case get others to put in the work), you can achieve whatever you wish. Ampersand does not just fall into place every month, in fact this month has been the hardest issue to construct. Problems with submissions, a small amount of creative block, a touch of my anxiety returning, have all conspired to cause me difficulty. But instead of throwing my tools down (the mac costs too much...) I went and had a cup of tea, and came back to it to work even harder. At the moment I am juggling lecturing, freelance work and Ampersand; and do you know what? I love it! This is the hardest I have worked in years, but I am seeing results so quickly! Fame has never bothered me, I do not like the culture of celebrity, and I do not like the way that creative people are clambering over each other at the moment to become the next ‘big thing’ like a Banksy, a Mary Portas, a Huck Gee and so on. This is why I admired Steve Jobs so much;
‘The design that touched us all’ by: jmak.tumblr.com
he just did not believe the hype, and worked hard - and got others to work ever harder, to establish Apple as a leader in the technology industry. This was a man who was told to ‘get his affairs in order’ after finding that he was suffering with pancreatic cancer from his doctor; a phrase often used rather than the more sobering ‘you don’t have long left..’ Did Steve Jobs stop? No, he continued to work long after the initial diagnosis, remission and rediscovery of the cancer. His passion drove him to continue on, to arguably establish Apple at the top of their industry, and to their highest point of popularity (and revulsion in some quarters) in their history. He had pushed Apple to believe in its own ethos, to work hard and to fulfil it’s own dreams and potential. In theory, Apple products should not be so well loved at all. They are underpowered when compared to equivalent products from other companies; and also they are vastly overpriced in comparison once again. Even their sleek, minimal approach to design makes them somewhat be seen as sterile and stark, almost like every designer at Apple is forced to watch ‘2001’ on repeat until they understand minimalist aesthetics. Jobs’ approach to the company and to the creative world could be a direct parallel to the way Kubrick approached his industry, meticulous attention to detail, and a thorough understanding of the audience he was developing for. Both Jobs and Kubrick worked incredibly hard to achieve their success, and had many failures along the way. Both men were also inflicted with a very fractious personality, which their drive and passion is construed as prickly and unpersonable by others. They will be revered for long after they have passed, and both will provide the inspiration to the new generation of creatives. Their passion for creativity have made the wider world fall in love with their visions, and from my first Apple product (a G4 angle poise iMac, inspired by the other passion in Jobs’ business life, Pixar) I too have subscribed to the Apple way of doing things. In fact, I am writing this on my Apple MacBook, whilst looking at the aforementioned G4 across
my room, with my iPod plugged in to charge, whilst I wait for my new iPhone 4S to arrive when it is released (incidently tomorrow at the time of writing this!). Apple’s products have helped me to establish myself in the industry I work in, and with the current pre-order totals for the new iPhone it seems to have struck a chord with the wider public too - I suppose you do not sell over a billion products without having a few fans! Bringing this around full circle, it has been the products that Steve Jobs helped design that have enabled me, and many others to actually work as hard as I have and to develop my passion for creativity. From the moment that I bought my iMac when I went to university, I have spent hundreds of hours both working on paper and screen to develop my techniques, understanding and direction of creativity. I would work for hours and hours to complete projects, all-nighters were frequent in my life, not because I was behind, but because I wanted to spend as much time possible to work as hard on a concept as I could. This allowed me to achieve the high grades I attained, and the success and acclaim that I have accrued within my professional career. Without hard work, you have to rely on luck, and unless you carry a pocket full of four leaf clovers, you may find that it is a hard way to live your life! With most younger people now seeing ways to fast track this success, either via fame or infamy, you begin to see a change in the ethos of how certain people approach hard work and passion. They have a passion to be well known, to be a ‘name’ and recognised, but in reality without the continued hard work, they will most certainly be found wanting when their initial success wanes. I instil in each of my students that with hard work and passion for their subject they can achieve anything they desire, and that they should not design to what they know, but to rather what they do not know. Creativity is a continuous learning process, that without hard work and passion to learn more is what limits the pathway to success. Success is always most rewarding when you have worked hard to achieve it - and it is usually longer lasting! Follow me over at: twitter.com/adamjame5
POETRY The Dance. The window fan blew the curtains Bringing the chill of its own breath. Curtains danced to a Rustic and Rather mystic tune that the fans Played and only the silent could hear. Their feet twirled and twisted and Kicked like a master of Venetian Waltz. Though the “bodies” separated and Twisted by themselves, their unity Was still obvious in how they moved. They caressed and kissed and Finger sensually tickled the cheeks Of partners as they might unite For a fleeting turn or two; like Eyes meeting, reality failed for them. Swept into the land of oblivious yet Ever filling care and love; devotion To never leave and stay, always, Side by side with their partner. Neither would fall off step or stage. But only the silent saw the curtains Dance their moves of the olden times; Chatter and din filled ears and that Occupied the mind disallowing any Sort of the mind shut to darkness. By: warpaint-tears.tumblr.com
~Jamie Bryan~
Artist & Illustrator. Liverpool. uk. Please support the artist Prints of work featured can be purchased here: society6.com/artist/rameface
Strange Town
Formosan Black Bear
Wolf Pack
Globe
ILLUSTRATION
Follow Jamie at: twitter.com/rameface rameface.tumblr.com rameface.carbonmade.com
FASHION
When we think of jewellery we may think of precious stones or metals, but UK based designer Kerry Howley has taken something much more personal to create a collection of contemporary jewellery, hair. Over the next few pages you can see just how beautiful her collection is and find out just why she is using something that we usually spend hours fishing out the plughole..
KERRY HOWLEY JEWELLERY & ACCESSORY
DESIGNER. UK.
FASHION
Each necklace is made with such precision and detail. It is fascinating to explore just how much minute attention to detail each piece requires.
Each beautiful necklace has a texture and feel that evokes the notion of opulent, ornate lace.
FASHION
The collection really challenges the perception of material choice and the personal aversion to the use of human hair.
As a recent Middlesex Uni BA Jewellery and Accessories graduate, Kerry Howley provides us with a fantastically interesting design concept, one that is getting her fantastic exposure all around the world. As an contemporary art jeweller, her work doesn’t fit in many places but the open nature of Ampersand Magazine was really appealing to her. The collection she is showcasing in this issue is entitled Attraction/Aversion and comprises of five hair necklaces. Kerry described the concept behind the collection to us as; “That materials can provoke emotions in us, and sometimes they can evoke emotions that seem totally at odds. Through the use of hair as a material, I wanted to see if I could provoke both feelings of attraction and aversion simultaneously. Hair was an appropriate material to use as it is so familiar. We take pride in it and care for it yet when it falls out it becomes something disgusting to us. In the plughole, hair is clean and only recently detached from your head but there is something innately repulsive about a tangle of hair. I used pattern as a way to combat those feelings of aversion as pattern is something we are instinctively attracted to, it serves no function other than to please us.”
Kerry explained that, “The pieces are necklaces because they are a familiar form of adornment that is hugely popular and covetable. Hair is also historically familiar in jewellery as a form of memento mori, or mourning jewellery. However I did not seek to renew that link in my work, the necklaces are purely a material exploration of my ideas of emotional conflict.” The stunningly thought provoking, yet beautiful collection has been described as, ‘Attraction and aversion; a dichotomy of feeling that can best be provoked through material choice. Although theoretically contrasting emotional responses, attraction and aversion are oddly congruous; there is often an element of fascination to the repulsive. By creating a delicate balance between attraction and aversion, Kerry is inviting the wearer to consider their emotional responses to materials. She wishes to see if, by the use of pattern and the familiar form of a necklace, she can make discarded hair attractive and wearable once more.’ Kerry’s work will be on exhibition at Kath Libbert Jewellery Gallery from 17th November to the beginning of January 2012, where it will then be split; with half staying at Kath Libbert and two necklaces going to the Museum of Art and Design in New York city until April. Find out more at: www.kerryhowley.co.uk and follow at: twitter.com/Kerry_Howley
A close up of one of the stunning pieces in the collection.
DARIA HLAZATOVA. ARTIST & ILLUSTRATOR. UKRAINE
“I’m Daria Hlazatova. I live in Ukraine and have a particular passion for drawing and making handmade collages. I live in a hilly city near Carpathian mountains, but the view from my window is rather dull. As a child I dreamt to become an oceanologist, but I have only one marine diver and a dozen of artists in my family so my art genes won over.
I find inspiration in travelling, music, fairytales, theatre and animals. So my art is mostly about all these things put together with a wee bit of nonsense. My drawings and collages have been a part of several exhibitions, art projects and magazines in the USA, the UK, Spain and Ukraine. www.twitter.com/daria_h www.dariasgallery.blogspot.com
OPINION
Being A Maker in 2011 Words by Adam J Pritchett
When I describe myself as a maker the first thing that comes to mind is my passion for materials and need to hold something tactile and physical, rather than a designer who has an image in their mind that just needs to be brought out with CAD or a pen. But in a ever upgrading technological age where the designer can change and move forward with new technologies and be fluid in the way they work, how can a maker or crafts person make themselves as adaptable and assessable as their designer counterparts? The traits that separate a maker from a designer, making them special is that fundamental ability to understand and respond to a material, knowing how it can behave, knowing the limitations and most importantly pushing those limits to create really exciting work that you haven’t seen before. A designer will see the finished object, a beautiful, functional thing that ergonomically we as people behave with everyday, while essential and a skill in it’s own right, a maker has a different take - they see the potential in a mistake, not always reaching an outcome but using a mistake to find something unique. A true craftsperson is obsessed by their craft, thinking about it always, adapting what they do, refreshing something traditional and making it new and current. The place that crafts fits into a design saturated market is difficult, it has a presence but very much gets set into the background, many people just see craft as something you find at fates and knitting circles, but it is the basis for so many other specialist disciplines. Designers and artists alike are not made aware of the other areas like craft enough and what it can do for them, it feeds creativity and imagination to see how other people work and those crucially important other approaches to problems. Haptic skills and co-ordination in
young children are helped hugely by learning a craft skill whilst in school, so what is to stop higher education from encouraging the same growth of creative students hand-making abilities when at university? I strongly think that it is much harder for a maker to crack the market, than it is for other creatives, there seems to be less support within learning environments and the nature of handcrafting an object makes it more expensive. Knowing mass produce is cheaper, hand-made is often overlooked or dismissed because we economically are in hard times. But it is interesting to ask yourself what informs your decision when you look at buying something? With all the choice and variety we have today, what other than the price makes you pick that one thing? Do you like to pick it up, sit in it, use it, touch it in order to decide? What makes you pick a more expensive but precious and characterful piece? I like to know the history behind something, who made it, how they did so and if it has been done just for me, utterly individual. Things like this could be key to finding a harmony between personality in our hand-made products and cheap industrially made products. That psychological choice that sways us to pick one over another is so important to a maker, if we had one answer it would be worth a million dollars. Different approaches to design and making is what makes being a creative so fascinating and enthusing, each day and each project is different. Being a maker means that you are even more special in your approach to things, there are plenty of opportunities for you to showcase your talents, you just need to seek them out. www.therhumboogie.com twitter.com/TheRhumboogie
Back to Mystery City Collages made by: Anna Maria Helgadottir (artist) Models: Emilie & Katinka from Scoop Models & Peter. Photographer: Rikke Kjaer
Maria Parsons is a recently graduated fashion designer based in Denmark & her graduation collection is called ‘BACK TO MYSTERY CITY’ and is inspired by the decoration/illustration on a metal tray depicting a mysterious city. Maria Parsons has incorporated different techniques such as embroidery, quilting, appliqué techniques and beading in her collection. All of this has been made possible by a production trip to New Delhi, India in March 2011. The result is a joyous, expressive and conceptual fashion collection.
This Page: Jumpsuit: Appliqué technique. Materials: Silk, satin, velvet, lacquer, silk/cotton, polyester.
FASHION
This Page: Top: Geometric shapes sewn upon a cotton top. Materials: Satin, chiffon, cotton/silk, silk & cotton Left Page: The construction of the top, from this you can see just how much detail has gone into the design and production of the top.
Both Pages: Long dress: Top part - full embroidery. Skirt part - Half circles in different sizes sewn onto the skirt. Materials: Cotton, silk, velvet, satin, metallic, silk/cotton, chiffon.
Both Pages the model wears: Jacket/Coat: Embroidery, patchwork techniques. Materials: Cotton (furniture textile), velvet, leather, satin, silk, coated cotton. Trousers: Silk velvet with attached trim; handmade brass pieces in two different sizes.
This Page: Dress: Silk velvet with attached trim; handmade brass pieces in 2 different sizes.
Gaining inspiration from a metal tray, depicting a wonderfully colourful and geometric ‘mysterious city’, Maria Parsons has created a wonderfully conceptual and artistic fashion collection. In each part of the collection you can see just how prominent her influence has been, from the colours through to the shapes and textures, somehow wonderfully individual yet surprisingly cohesive. As you can see, the work that has been put into each of the garments is phenomenal. From the initial sketches of each item of the collection, Maria used computer packages to develop her ideas further, refining the collection to the cohesive and outstanding body of work you see on these pages. By heading to New Delhi in India back in March 2011, Maria was able to take the development and production of her collection further, where experts were on hand to help produce each fantastically avant garde piece. Just from these images you can see just how much work went into each and every garment and just how much minute detail they are adorned with.
This Page: Mini Dress/Top: Full beading technique (front & back). Materials: Cotton dress, pearls in different colours. Left Page: Dress (finale/ bridal dress): Asymmetric dress with train. AppliquĂŠ technique Materials: Silk, polyester, gold lamĂŠ, satin
This Page: Dress: Asymmetric quilting technique. Materials: Satin, wool, cotton, velvet, lamĂŠ, silk. Opposite page: Fashion illustration of the asymmetric quilted dress design featured on this page. Even in this illustration you can see the detail and different textures of the dress.
Jacket & Skirt Set: Beading technique. Materials: Fake Suede with metallic coating, Beads/pearls in 4 different colours.
Maria in her own words...
“My name is Maria Parsons and I was born in 1983 in Coventry, England. My father is English and my mother is Danish. We moved to Denmark when I was very young and I grew up close to the German border on a small island called Als (Denmark). I am currently living in Aarhus, Denmark. I have always been interested in fashion and drawing and I remember attending drawing classes as a child that were all about being very creative and ‘free’ in your interpretation of things. I used to love that. I was also always participating in drawing competitions and winning lots of LEGO!! As a child I wanted to become a palaeontologist (Dinosaurs were a big passion of mine!), a circus princess, an archaeologist or a fashion designer. Before being accepted to the Fashion course at Kolding School of Design I attended a 6 months course at The Scandinavian Design School (Den skandinaviske Designhøjskole). This is where I figured out which school(s) I wanted to apply to and what exactly my interests within fashion/textiles were. During my studies at Kolding School of Design I quickly found out that my passions are avant-garde/conceptual/ artistic fashion and fashion illustration. In February 2009 I became 1st runner up in the Scandinavian Fashion student competition Designers’ Nest with my BA collection. I have interned at artist Helle Mardahl (Copenhagen), MoonSpoon Saloon (both in Copenhagen and in Los Angeles) and also worked for Danish art group Ingen Frygt (translation: No Fear) doing scenography. Whilst studying at Kolding (the MA course) I worked as a freelance print designer for the Danish company Samsøe & Samsøe and produced a fashion performance in my hometown Aarhus, featuring dance students and fellow Kolding fashion and textile students. My approach to fashion is very artistic and conceptual and I love to work within the fields of fashion/textiles, art, costumes, illustrations, performances and so on. I am currently looking for a job and and I would love to work abroad.” Find out more at: mariaparsons.tumblr.com/CV View the collection at: backtomysterycity.tumblr.com
JOE
CRUZ
ARTIST
LONDON UK
ART
Build People 1: 2011
Rock Chic 1: 2011
Having met Joe at a recent private view held at the Debut Contemporary Gallery in Notting Hill, London, I was fascinated by the overwhelming simplicity of his artistic style and the passion that Joe has for not only his own work but those of others. The art that Joe produces is very visually striking and there is an overwhelming sense of the work displaying a bold and playful elegance, yet confident simplicity. Joe is, when you meet him, someone you get a real understanding of a burning desire to have his work not only recognised for it’s artistic merit, but for being passionate about all different types of art. From talking to Joe you
FIND OUT MORE ABOUT JOE AND HIS WORK AT:
discover the intrinsic links through his wider family’s work within the fashion industry, and how that the simple and striking elements of his pieces have been influenced by the world of couture fashion. Using these influences along with his interest in the political and social issues that make us question the world around us, Joe really juxtaposes many elements that create a great depth to each piece of art, that transcends the initial simplicity. Joe truly is an artist who has a huge appreciation of the wider art world, and is working as hard as he possibly can to develop as an artist and to have his work appreciated on many levels.
JOECRUZART.WORDPRESS.COM
PHOTOGRAPHY
Space Invader Mosaic: Found in Greater London, UK. Photograph taken by Jamesydesign
The Rhumboogie Interviews...
Craig Macauley Contemporary Jewellery Designer
~Words by Adam Pritchett~
CRAFT
When I see Craig Macauley’s Dewdrop jewellery it instantly has one of those distinctive styles that you just know is really original, I can confidently say I haven’t seen anything like them before. I was lucky enough to be able to talk to Craig an ask him some questions about his work, the design behind it, the method and lots of extra goodies. Heres what he had to say; R: Given the fascinating and really original nature of your necklaces and bracelets can you describe some of the ideas behind them? Craig: The initial idea behind the Dewdrop range of jewellery was really the discovery of the process of creating the individual strands. The design of the pieces was also informed by the way early morning dew clings to spider webs and traditional beaded tribal jewellery. R: How did you come up with the process for making one of the strands?
R: I think it was amazing to see some of the design process of your first concept turning into the finished things that we can see today, how do you think your idea has progressed from the original sketches? C: The idea has progressed a lot from my original aims and sketches. The jewellery was just supposed to be supporting the larger sculptural work I’d made in the first half of my third year then it gradually took over. After working almost exclusively in glass for the three years of my degree I was pretty determined to keep the glass elements a part of it. I drew and made lots of pieces with different fastenings, ways of finishing and trying to incorporate the glass cocoons but in the end I decided that the it was best to keep things simple and focus on the Dewdrop effect nylon. R: What has been your favourite part of these pieces of work (making, design, experimenting etc)? And which is your favourite piece?
C: The process for making one of the strands came about like a lot of the best ideas do, entirely by accident. I had created these lamp-worked glass cocoons that I wanted to use in both large sculptural/hanging lighting pieces and a range of jewellery pieces. I’d decided to coat these in resin to create a protective layer around the glass. After dipping them in resin I hung them up to dry using some clear nylon thread so the excess resin would drip off. Where the resin had got onto the nylon thread it formed these little droplets.
C: Experimenting and just playing around with materials and generating ideas for pieces from this is definitely my favourite part of my design process for this series of work. My favourite piece is the Dewdrop necklaces with frill in the pale grey nylon I’ve just started using, the colour is delicate and seems to accentuate the clear resin droplets.
R: Have you always had an interest in jewellery making, or has that developed from another medium?
C: I wouldn’t say there were lots of failures and mistakes. Apart from a couple of instances when I didn’t mix the two parts of the resin accurately enough so it didn’t set properly!
C: No I haven’t really, it mainly developed out of my interest throughout the length of my degree course in the process of lamp-worked glass. This technique is quite often used to create glass beads for use in jewellery; this led me to explore more experimental use of glass in jewellery and the history of this technique which formed the basis of several university projects.
R: Did it take a great deal of failures and mistakes to get to the place that your work is in right now?
There are pieces I made that don’t work as well as I’d hoped or didn’t translate well from a drawing into a finished piece, but I learnt from these and refined the idea by taking what worked and removing or changing what didn’t to create the finished range.
R: What has been one of the most exciting bits of feedback that you’ve received so far?
R: What advice might you give to students starting out on a 3D Design course themselves?
C: At our university degree show the course tutors had arranged an awards ceremony with various prizes and opportunities being handed out. Very unexpectedly I won a three-month showcase of my collection in the Franny & Filer gallery in Manchester. The fact that a gallery that wants to support makers but has to make money to survive thinks your work is good enough to be worth promoting is a big boost straight out of Uni.
C: • Work hard. There is a lot of very good competition out there. • The final grade you get doesn’t matter in this industry if you have a portfolio full of exciting, original, high quality work. • Have an online presence. Document your work on a blog. It is so easy to get in touch with people working in the industry and fellow students on Twitter. But be kind and mention other people’s work, don’t just promote yourself. • Take and make full advantage of every little opportunity (work experience/exhibition etc.) you get. • Take full advantage of your tutors, your university’s facilities and the opinions of your fellow students. Your paying for it and you do miss it when you graduate and get kicked out into the real world.
R: How was New Designers for your practice, in terms of what effect it has had on your contacts and opportunities? C: It has only been a few months since the show but so far directly from New Designers, I have got the chance to take part in an exhibition, be part of a Vogue advertorial on bespoke jewellery and I have a meeting with a London gallery this month about them selling my work. I spoke to a lot of people connected to or interested in the industry I think it is a must do event, people are going there to look for new work and designers and you may never get another chance to meet and talk to so many people who work in the design industry again.
R: Finally, what is coming next for you, are you carrying on with the dewdrop jewellery, or do you have a new series lined up? C: I will be continuing with the Dewdrop series I still have a lot of ideas for new work using the nylon strands and variations on the pieces produced so far. I have recently set up an online store and in the coming months work from my Dewdrop collection will be part of the winter showcase at Atelier Jewellers on the Isle of Wight and a selection will be for sale through Designers Eclectic in the Craft and Design Centre. “I found talking to Craig really interesting and it was fantastic to get to learn a little bit about his methods and more about the way he works, I think there are some really exciting things to come from him and I expect to see his jewellery in all over the fashion magazines and specialist bespoke stores. He’s already been in a Vogue advertorial so expect very big things! It was a privilege talking to him, he has plenty of places you can check him out further.” website: www.craigmacauley.co.uk email: craig.macauley@yahoo.co.uk twitter: twitter.com/CraigMacauley
Merge of Raven and Man “Nevermore” and silence. Beak removed from heart And breathing not normal. My soul fluttered from my Body and clung to what Was nearest at hand: The Raven would be my Beast and we would fly. Bird and soul took to the skies And bird went everywhere No person had gut nor craft To enter upon. Man would Walk about and find a man Or woman who would be his prey. He infected them with his ghoulish Breaths and infused their minds With insanity and love and confusion. He imbued them, with what he was. He tortured minds and sent them raving. If his Lenore could not be his and Life as it once was, was gone, then “Why should they live while I cannot?” And the man opened their souls to Allow the Raven inside and he stole Yet more and more crazed souls. To steal the soul was a kindness. Reshaping the body so that the Essence of the being should shutter But be forced to stay in the prison Became the speciality of the man. And Raven and Man flew over the earth, Fixed so intent on their mission that Death they evaded and found eternal life. And with infinity and a world at their talons, They continue to haunt men to this day. By: warpaint-tears.tumblr.com
DESIGN
Will Suckling is a 20 year old Graphic Designer from Hastings in the UK. Over the next few pages you will be able to se his fantastic typographical posters, along with some of his screen printed work. Head to bayleydesign.tumblr.com to find out more & where you can purchase some of his fantastic designs!
DESIGN
DESIGN
ILLUSTRATION
LEE-ANN DONALDSON GRAPHIC ILLUSTRATOR “I’m not sure what I’d class myself as; I’m studying Graphic Design, but my work leans heavily towards Illustration. I like to dabble in a bit of everything to be able to add a bit of variety to my own work. Typography and lettering are weaknesses of mine, particularly hand lettering which I like to combine with illustrative pieces. I still remember drawing letters when I was a kid, I never thought it’d be something I’d still be doing 15 years on! The beauty of hand lettering is the imperfections - which can be testing when I’m having a perfectionist moment! But drawing letters by hand allows more freedom, and movement which shows in the finished piece.”
ILLUSTRATION
Find out more over at: www.lee-anndonaldson.com www.twitter.com/MsSoprano
CHARLOTTE BRADBURN. GRAPHIC DESIGNER. 21. UK
Charlotte Bradburn is a recent graduate of the University of Chester, here in the UK. Charlotte studied Graphic Design and you can see some of her university projects over these pages.
Charlotte is currently just starting her Masters in Graphic Design as well continuing to undertake freelance design work. See more: charlottebradburn.com
ILLUSTRATION
Charley B. Designs Charley B is an Illustrator based in Bath, Somerset and finds inspiration in the people around her. Her Illustrations are a quirky mix of Character and Fashion and they are not meant to be true to form. Limbs are meant to be too long, sleeves too short and Heels too high. Just like Fashion the characters are meant to be unattainable and slightly comical with all their seriousness. You can see that her work varies from the Comical and Quirky to something softer with towering plaits and soft feminine shapes seen in her pieces “Rose’s” and “Marie”. Follow her creations: www.charleybdesign.blogspot.com and look out for her new greeting cards range coming soon.
OPINION Andy McCormack is a graphic designer who over the next few issues is going to give you the low down on the trials and tribulations about getting a foothold in the industry.....
Not quite there yet….
University, a place where tomorrows elite grow. Where the future front runners of society gain an understanding about how the world works and how they can shape it. The first days in university are the first days of the rest of your life, apparently. Realistically though its one giant mix of social orgy’s and alcohol. Never the less I was asked to write about what I actually learnt at university and what I think they should be teaching young creative’s. It is a hard subject to write about without sounding too detrimental as I had two really bad experiences at university on both courses but that’s not to say all universities are like the one I attended.
However, I will start by answering the first quicker than others, and that some will have question I was asked; “What did I actually to work harder than others. Not only that, I think they should also identify and coach the learn at university?” Well in all honesty I didn’t learn any major ones they feel will need to work harder. It is advances to my practical skill sets which I the worst thing in the world thinking you are wish I had. I did however learn about internal going to walk into a job only to find out that politics and that in the work place it seems you are one of the ones that will have to wait that there is always someone waiting to take around a while. Yes at first I would have been a bit upset if they (lecturers) had identified me your job. and said I would need to work harder than Out of all the bad, the one thing I am grateful others to gain a foothold in the industry, but for learning was that out of the chaos I know I would also have respected the honesty and how to self motivate. I needed it on my appreciated the help. courses. My first course nearly failed and our grades were “bumped” up to make sure we got Universities should also stress the critical a place on the BA (degree) and the BA wasn’t nature of web design in modern graphic much cop either, but that’s besides the point. I design courses. In uni I attended, it was an also learnt the design process and how to think option which lecturers discouraged. Saying around subjects to create ultimately better things like “I don’t understand web so I cannot designs. I still wish the lecturers could be grade it properly, however if you do this then bothered on the BA to teach us more practical I will be able to grade it fairly.” skills, but with all the cuts and job shuffling I One thing I learnt early on is that if you do not guess I was lucky to even have lecturers. have an understanding of a subject, you make Its hard to pinpoint what I learnt on my sure you gain an understanding quickly. One courses because sometimes it feels like I have example is that it would seem that every learnt nothing and the whole 4 years there was graphic job requires a junior designer to know a waste of time. Other times it’s the complete web design. This then should be an integral opposite, I guess its down to the situation I’m part of the curriculum and I personally feel in. If I’m job hunting and it requires skills at a disadvantage because I don’t understand which I don’t know, but should have been or know web design. I am however slowly taught, I get annoyed. However after getting a learning it but I would prefer to be taught, but rough time of it I feel that in certain situations that involves me spending money I do not I can handle things better than others. I have on something that I should have been think being on a failing course helped me to taught on a course I invested thousands of develop my own way to cope, my own way pounds on. to sit back and re-assess a situation. So to be fair I learnt more life lessons and skills rather than practical design skills, gaining a more philosophical outlook to things and an ability to look back and reflect.
In summary I think universities should be teaching young creatives practical skills that are useful on a commercial standard. Students should be made aware realistically of how life will be once they leave. Once you gain To answer the second question “What do I an understanding you can prepare better and think universities should be teaching young ultimately achieve more. creatives?” Well I think it should be a mix of Universities can start this by instead of saying a lot of things. I personally wish I was taught “All you have to do is get a job” actually teach more practical skills and had work experience students how to get a job and stand out in a opportunities. I also think they should give wonderfully vibrant sea of talent. an honest and realistic picture of what it will be like after leaving university. They should Follow Andy’s work at: be telling you that some students will get jobs www.am-creative.org.uk
ILLUSTRATION
Holly Wilson
Holly Wilson is an Illustration Graduate from The University of Worcester; where she achieved a 2:1 this year. “While acquiring this degree I have learned how to manage the demands of university life and how to work on many different creative projects at a time. By doing this I have determined how to manage my time successfully leaving me well prepared for working in the creative industries. I have gained experience in digital programs Photoshop, Illustrator and InDesign but have never lost sight of the importance of hand drawn and painting skills. As a result of the University of Worcester’s creative arts degree show my work has been exhibited in Worcester art gallery in the group exhibition “Emerging Artists” my work is also being featured on Creaturemag as one of there ‘Artists spotlight’.” hollyfairydust.carbonmade.com
PHOTOGRAPHY
Photography by Ed Gallagher funisinthechase.tumblr.com
I’M BORED OF COFFEEHOUSES... Ask anyone who knows me well enough and they’ll tell you instantly about my two addictions; internet and coffee. I drink a lot of coffee, but only from coffeehouses. I’m one of these who just can’t make great coffee (or any drink to be perfectly honest). I love the taste of coffee, the smell of it and relaxing in it’s home - the great coffeehouse. I can’t think of anything more relaxing than socialising with a friend over a good cup ‘o’jo’. But lately, I’m getting a bit bored. When did it become acceptable for every part of everywhere to have a coffee shop? When did we suddenly become Italy? And when did it become acceptable to serve poor coffee at high prices? Frankly, I’m baffled and fedup. According to KeyNote, the largest market researchers, the top 12 coffee chains have grown by 74.9% since 2005. That’s staggering and with so many coffee shops popping up all over the shot, our coffee obsession is as strong as ever. We’ve become so comfortable with the generic coffeehouse style - leather sofas (usually brown), varnished furniture, menu on the wall and the ‘collect your coffee at the end’ command. This is a problem. Each coffee chain has decided to model it’s whole business on each other. Take Caffe Néro – it looks similar to Costa – which is similar to Starbucks. Pret a Manger, which I LOVE, is similar to Soho Coffee Co. which reminds me of EAT. Who said we were OK with this? Yes, yes, maybe in the early 2000s but we’ve changed. Our tastes, styles and needs have adapted, and coffeehouses need to follow with us, or risk losing us.
For a start, we’ve changed our diets and I’m fed up of seeing the same-old standard-issue muffins and pastry selection behind the glass counter. I want good, honest food that won’t encourage obesity. I’m also fed-up of the usual abstract painting that ‘decorates’ the walls. There’s so much better art out there that could be showcased. We’ve changed the way that we interact with each other and with businesses. If I have a problem with service, I simply tweet the company on my iPhone, which I also use to arrange a coffee with a friend. I carry my iPad with me and tap away on it when I want to be closed off from the world with my latté. Coffeehouses aren’t just becoming a place to enjoy a beverage, but are the places where we go to socialise, to debate, to unwind, to think, to innovate, to work and to be ourselves. I spend a lot of time in them, and in some ways, you could say they’re like another home. They’re a warm, comforting environment where I can escape to. What coffeehouses really need to do now is to recognise this movement and adapt with it. These places could become so much more and I’d love to see a place where I can charge my iPad, pick up a book, witness a live jazz performance, eat a delicious lunch, drink an amazing beverage and be able to see others enjoying themselves. The great coffeehouse has so much potential to become the hotspot of socialising and I really hope that becomes a reality. Article by Mason Moore Find out more over at: www.masonmoore.co.uk
THE END. Follow the Magazine and get involved by submitting for a future issue at:
www.ampersand-magazine.com www.twitter.com/ampersand_mag Contributors to this issue:
www.jamesydesign.tumblr.com www.society6.com/artist/rameface www. rameface.tumblr.com www.kerryhowley.co.uk www.dariasgallery.blogspot.com www.therhumboogie.com www.backtomysterycity.tumblr.com www.mariaparsons.tumblr.com www.joecruzart.wordpress.com www.lee-anndonaldson.com www.craigmacauley.co.uk www.warpaint-tears.tumblr.com www.bayleydesign.tumblr.com www.charlottebradburn.com www.charleybdesign.blogspot.com www.hollyfairydust.carbonmade.com www.funisinthechase.tumblr.com www.masonmoore.co.uk www.little88.tumblr.com A big thank you to you all!!