AN ECLECTIC CREATIVE SHOWCASE
THIS ISSUE:
THE MIGHTY QUADRICORN
04
I would show my my jobs to my mother, and she would always say the same thing: “That’s nice dear.” And then she would say, “Did you write it?” or “Did you do the drawing?” or “Did you take the pictures?” I’d always answer “no,” then I realized the problem. My answer was then, “I made this happen. It’s called design.”
Brian Webb
WELCOME
WELCOME TO THE FOURTH ISSUE OF AMPERSAND MAGAZINE, A SHOWCASE OF SOME OF THE FRESHEST CREATIVE TALENT FROM AROUND THE WORLD.... Well this month has been nothing if not eventful! Ups and downs all over the place; new full time jobs, juggling freelance work, the whole issue being lost two days before release - and the back up copies being corrupted. But it is all sent to try us! We have really worked hard to get this issue out, and we know we say it every month but this truly has been the hardest month to get together and put Ampersand 04 together. We have got a few bits of exciting things happening, (which reminds us to get in contact with a few people!) and hopefully you may see Ampersand evolve a bit over the next few months for the better! Again, last Issue we offered 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 can actually 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 four 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... Now let me put this into context, I sat with my a few of my students today looking at concepts which could help them further their current project, when we clicked over to www. thedieline.com - a site I regularly use and peruse to see new exciting designers and design work. We sat there and looked at one design, and we all came to the same conclusion. Over the duration of this post you’ll hopefully understand our reaction to it and why it created such a strong sense of feeling amongst us - so sorry if this is really long winded, but please try and stick with it. The design which caused so much reaction was a simple redesign of an ice cream brand. The brand in question was ‘Mr Creemy’ a localised brand of ice cream usually only available in Wales and the redesign was handled by a ‘design’ agency from the Welsh capital Cardiff. Now; before I go any further, you can go read the post at the dieline before reading mine if you want, just to make sure I’m giving you the chance to be objective: www.thedieline. com/blog/2010/11/19/before-after-sub-zero. html Back to my original question, creative design, why bother? Whilst reading through the post at the Dieline we all started to get annoyed at the blatant ‘inspiration’ that has obviously informed the design process here. So annoyed, the question of why are they even bothering to learn to be creative and individual when
this sort of design can win awards was risen. The fact that this design has won an award we all felt sickened by. Yes, it is a nice slick design, much more modern than the previous packaging, but really? It won an award? (and no it wasn’t an award for most blatant ‘lifts’ from other designs) The fact that we could all sit down and name at least half a dozen different products it riffed on is testament to not only my students observations in graphic design (which was slightly reassuring as their tutor!) but the fact that the agency have obviously not thought about the exposure such an award would bring to the product. Kevin Jenkins, Chief ice cream maker said, ‘I couldn’t have asked for more from them They have created a completely new brand, which is vibrant and imaginative. Their approach is always full of personality which is why they’ve been able to capture everything that Subzero is about.’” Now I have to admit, I have somewhat experience in this field which is why I feel that I can pass comment. Whilst working as a graphic designer, I too worked on a brand of ice cream only available in Wales, which had a rich heritage, but wanted a modern twist, without compromising and neglecting their history. They were incredibly demanding clients, but we all worked really hard to ensure that we captured everything they were about. Now when you reflect on the statement from Kevin Jenkins, take a moment, try and consider what ‘Subzero’ is about….. Typography? Black? Waitrose? Simple? First off, my students thought it was a beauty brand, a bit like Lush, someone else pointed out it looked like Gu puddings, another said it was like EAT. and another championed the similarities of it to the Waitrose range of food. You see as disgusted as I was when first faced with this design, the true annoyance I had was when we opened up the ‘exciting and creative’ website. Now a picture says a hundred words, so look at the homepage
and play count the rip offs……It defies explanation. If all this sounds a bit harsh for something so insignificant, well you might have missed the point. Its not the blatent rip offs that disappoint me within this design, it is the fact that a ‘well-known’ design consultancy has so clearly been quite uncreative with a design but yet it has been positioned into being able to be referred to an award winning packaging design. What message does this send to the next generation of designers such as the ones I am working with? I try to push every single one of my students to be as creative and individualistic as they possibly can, whether it is creating their own typography, their own photography and most specifically not to make their work look like something else. Then they see something like this that makes them despondent. It isn’t forward thinking, it is not exciting and it most definitely isn’t ’21st century’. This is a case of someone liking a style and positioning it to the client, the client should always come first, and never be asked to compromise the integrity of their product, whether directly or indirectly. I just feel sorry for really creative designers and students that can either not get into design consultancies, or will be asked to compromise their creativity for the sake of the ‘house
style’. At a time when designs like this are ‘award winning’ I really fear for the creative industry, because consultancies like this will continue to diminish the creative pool, as more companies are swayed by the label of ‘Award Winning Design Consultancy’ (again something that the boss of the consultancy I worked at used to labour to every new client, and it grated on me even then) Design and creativity should be measured in success and public reaction, and I would be very surprised that if this ‘rebrand’ would increase revenue sufficiently to label such a drastic change as ‘award winning’. So thank you if you have continued to read through this post, because I know it was long (and a bit of a rant!) but it really is an issue that really concerns me, as it appears this type of situation is becoming more and more of a regular occurrence. So i’ll finish by giving you some links so you can make your own decisions! www.iamsubzero.com www.eat.co.uk www.benjerry.co.uk www.lush.co.uk www.gupuds.com Tweet us what you think! www.twitter.com/ ampersand_mag
Having recently discovered Andy Needham, we here at Ampersand have been blown away his fantastic illustration work. He is way too talented for us to keep a secret - join us as we showcase some of Andy’s gorgeous work...
Lady Gaga
Adele
Amy Winehouse
Andy in his own words..... “I am a creative intellectual. Throughout life I strive to have knowledge in a diverse collection of subjects. I believe creativity and intelligence is an essential partnership to becoming successful in the world of design, so I try to maintain a well rounded knowledge in both academia and the arts. I like to immerse myself in a variety of subjects, from astronomy to zoology, and regularly divulge in popular culture, but also politics. I possess an array of abilities and idiosyncrasies. I’m obsessively organised, everything has its place. I have an endless capacity to learn about anything. My interests are constantly shifting on a weekly basis. I’m opinionated without being overbearing. I have an assassin gaze, critical and cautious, in which I analyse and assess everything: people, situations, design. A determined approach drives me to accomplish a task with one hundred percent execution and to a high standard.
I pay particular interest in ink and the more fluid forms of media. I have an obsession with fashion illustrations, David Downton and René Gruau being divine figures to me. Traditional illustration has a look and feel that no computer can compete with. It’s from the heart and mind of the creator; a piece of them. I do love some digital illustration, but for me it lacks soul. A pencil line or a paint stroke is unique, it’s like a fingerprint. It’s impossible to replicate this mark making technique on computer software. But I can understand that digital media is part of a never ending evolution, creating unexpected and infinite possibilities for artists, that are accessible to a wider population.”
Vivienne Westwood Fashion Illustration
http://twitter.com/aneedham90 http://andyneedham.tumblr.com http://www.behance.net/andyneedham
HER VIDEOS HAVE BEEN WATCHED THE WORLD OVER. SHE HAS THOUSANDS OF FANS INCLUDING TWO DOOR CINEMA CLUB. FIND OUT JUST WHY SHE IS ON THE FAST TRACK TO GREATNESS...
ERIKA KELLY Words by Jamesy Photos by: Jack Alexander Photography
Erika Kelly is 18, and from a small island situated between Ireland and England, called, the Isle of Man. When she was 7 and had just joined her second primary school, Albert Road, she joined a small school folk group called, ‘Share Ny Veg’ (Manx for ‘Better Than Nothing’. Erika started off by playing a simple tin whistle, but it was one day when she spotted a small 12-string harp in the corner of the gym hall her interest was piqued.
stunning 41-string Pilgrim Progress Lever harp.” Erika tells that she tried to learn to read sheet music, but in her own words she; “failed miserably every time,” and ended up quitting violin lessons because her teacher would get frustrated with her not being able to read...
“To me, reading music was far too difficult, and I much preferred to sit and listen to something, and then just play it. I have a natural ear to just picking up tunes, and Erika tells that when her older whittling them off?!” sister ended up bringing the said harp home, and when Erika explains that she has no out of her sight, she would sit idea why she decided to start there and pluck away to her putting videos on YouTube. heart’s content. “I think it was just out of “I was able to work out simple boredom last summer! I was nursery rhymes in my head. pleased with the reaction A year later, I became the I got to my first video, so harpist of the group playing decided I’d make another simple chords to tunes, and so on. After much which were accompanied persuasion, 3 months ago I by violins, whistles, guitars, set up a Facebook page for people to come watch my banjos, keyboards, etc.” harp-playing” 5 years passed until after her is always quite constant badgering Erika’s Erika parents finally relented and humble when discussing her decided to invest in a harp for popularity, and this is part of her enormous charm. With her. her Facebook page heading to “They bought it off eBay!!! 6000 ‘likes’ and her videos on We got a boat to Liverpool, Youtube gaining thousands and took a long long drive of views, who could deny this to Wales to pick it up - a little unassuming girl playing
a somewhat ‘unfashionable’ instrument is something of a mini phenomenon. The band Two Door Cinema Club were so impressed with her cover of one of their songs they tweeted all their fans about it and Erika picks it out as her favourite piece she has played so far. “Undercover Martyn by Two Door Cinema Club! Is my favourite because it’s such a fun tune to play - you’re constantly having to think and coordinate your hands! There’s also the little fact that the band themselves saw it, and they ended up posting it on their Facebook wall, titling it “Two Door Harp Club” - it got 2000+ likes within minutes, and a fabulous response as the weeks passed by! When pressed about her future plans Erika states that her first EP is on its way, and she would love to work her way into producing music that gets used in television and film scores. With her recent appearance of British programme Come Dine With Me, playing the harp for one of the hosts at their dinner party, surely it can only be a matter of time until Erika Kelly gets the attention of record companies and she gets all the critical acclaim she deserves. Follow Erika Here:
http://on.fb.me/thMpU1
Watch Erika Perform Here: http://www.youtube.com/user/dasloverly
Photos by: www.facebook.com/jackalexanderphotography
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Moonlight
A: For those who don’t know you Theo, A: What would you say your design style tell us about who you are and what you is? Has your style evolved whilst you have been at university? do? TC: I’ve been heavily inspired by vector pioneers like Jared Nickerson, Hydro74, Jonny Wan and other artists around the world. I love working with pretty much everything, from traditional mediums to my wacom pen, however I would say my prefered style is a heavily geometrically inspired style of working with shapes and simplism. But style A: Do you remember the first time you can often be limitation, experiment with felt that design was the career path you everything and you can just be a swiss army knife. wanted to take? TC: Hey all! I’m currently working as an independant Graphic Designer and Digital illustrator as well as studying my second year of my BA Hons Graphic Design Course at Havering College. We’ve had a few people featured in magazines before so I hope to continue the tradition!
TC: I remember the precise moment! Just before taking a school trip to China with my Mandarin class for work experience I picked up my first issue of Computer Arts, and read it cover to cover. I always wanted to create artwork for a living since I got into it at a young age, just never really knew the name or process of it. I was hooked after reading that issue and finding the online community, it still fuels my motivation today (with over 40 issues of Computer Arts on my shelf)
A: Who has been one person who has had a real influence on you, and your work?
TC: My major inspiration in the design world is the one and only Kate Moross, her whole work ethic, methodolgy, success and style just gives me hope as a student. Knowing that most of the commisssions for high profile companies she had received whilst studying at university was amazing, working on a billboard campaign for Cadburys of all people! She’s created work I see everywhere, yet A: With the current climate, and nowhere if you will. She’s never a one trick university places costing more then pony and works incredibly hard, so I only ever in the UK, do you feel that you are hope I can maintain that motivation! getting value from your university? What would you recommend people to A: What has been your favourite piece of look for when choosing a university? design you have worked on so far, what TC: Its never about what the university can makes it your favourite? offer you in my opinion, its what you can get out of it/offer to the university. There have been people from my small college (which offers courses of BA level, to the same quality as any other established university) that have gone on to work for major companyies like Arup and JC Decaux! To be honest, its not about value, its the fact that theres so much to learn and so many people to learn it with, why miss the oppourtunity?
TC: A recent piece I had done for my girlfriend around a few months ago completely spawned a new style for me, and since then I’ve been working on adapting and evolving the style. Recently I’ve been working on a set of regular (not quite daily) character illustrations I’ve just been sketching up in preparation for vector which I cannot wait to show the world. Character design has always been a major interest of mine.
Wait!
You’re So Wise
A Brain Encased in Neon Glory
A: What direction would you like your career to take after you graduate - are you worried about the amount of opportunities on offer to newly graduated students? TC: I think everyone is worried about success no matter what level you’re at (except probably senior designers haha) but I have several directions I want to take, rather than a single road, I want to explore a maze of oppourtunites. My general interest is Illustration, for print, apparel, merchandise and editorial means, however I also love print layout, motion graphics, branding (a skill I would love to improve) and design for music. I think one major goal however is to get a character I decide to design made into a vinyl toy someday, I’m a junkie for collectables! A: If there was one person from the A: Finally, do you think that creative creative world you could sit down with talent is being lost due to the lack of ‘obvious’ opportunities on offer to and have a chat with who would it be? designers? What opportunities do you TC: If it had to be from “new” pracitioners, it think Ampersand could offer to other would be Alan Wardle, the king (in my eyes) new designers? of independent apparel brands and head of AnyForty. He’s a brilliant guy on twitter and TC: You don’t get anything from sitting in he works incredibly hard on EVERYTHING your studio with your head down, as Moross the company and brand has to offer, including had noted in an interview. Networking marketing, sales, screenprinting and even and online presence is helping graduates, postage by hand. He finds some of the best students and young designers with talent to artists to collaborate with on this apparel get recognised and gain those oppourtunities, works and to be part of that in the future you know someone, they know someone would be a massive honour. If I had to have that knows someone that can help you out! a talk with a well know practitioner it would Ampersand I think has a brilliant platform have to be either Neville Brody or Paula and is becoming an established magazine as Scher, their work is incredibly inspirational of late, for which I cannot wait to see what and I particularly love Brody’s work with they come up with next. As of opportunites I think potential clients would check out the Face Magazine. independent design scene and find the people they need for their projects, and Ampersand is only helping with that. Find out more from Theo at: http://twitter.com/mind5tate www.themindstate.tumblr.com www.cargocollective.com/mind5tate
Gold Dust
Custom Ampersand By: www.themindstate.tumblr.com
Custom Ampersand By Francesca Harris http://francescaillustrates.tumblr.com
JORDAN
DEBNEY We hope you are going to be just as excited as we were when New Zealander Jordan Debney and his amazingly crazy illustrations crossed our paths! Join us as we discover more about this fantastic illustrator and just actually what a ‘Quadricorn’ actually is...
Neapolitan
A: Tell us about who you are Jordan and of the flesh and disfigurements of the visual what you do? appearance while incorporating things that are usually considered ‘positive’ and bright JD: Well I am a male human being, (self colors. I usually get mixed reactions from proclaimed) artist from New Zealand (it’s people when they see my art, they don’t know that tiny speck in the lower right hand of a whether to recoil in fright or give it a hug. generic map of the world). I have a great love Probably the only time a vomiting horned for monsters and all things repulsive, horror monster could ever be considered ‘beautiful’. movies and ice cream. I attempt to fuse all of A screaming monster riding the back of an ice those things into visually pleasing pieces of cream is so ironic that it’s comical. artwork. A: Has there been one person who has A: Do you remember the first time you had a real influence on you, and your art felt that design was the career path you work? wanted to take? JD: There have been many people that JD: I have always enjoyed drawing as a have influenced my artwork, as well have child. I used to imitate drawings from comics experiences. I didn’t want to be one of those and the collectable ‘Dragon Ball Z’ cards all alcohol driven people that don’t end up through primary school and never actually doing anything with their life. I want to knew I could make a career out of it. Although succeed and be able to say I haven’t wasted I always knew I wanted to work with art, I my limited time on this earth. So I went with just never knew how. Enough drawing kind the one thing I knew I could do, and that was of made a career of itself. The more I drew, the drawing. I look up to and admire the people better I got, the better I got, the more people I consider most creative. Trent Reznor for his started approaching me for artwork for their music, Zack Snyder for his movies, James Jean clothing line and album covers. Consider it a and Alex Pardee for their art. I can always growing entity that can’t stop feeding. know that whatever happens, I will always have the things that these people do most A: How would you describe your design creatively to keep me going. Seeing creativity style to our readers - and how would you fuels my creativity, and I have an unlimited describe your creative process? source of it. JD: I often find myself playing with mixtures of cornflour and water for hours, (you know, A: What has been your favourite piece how it goes really fluid-like as well as a solid). of art you have worked on so far, what I observe and concentrate on various parts makes it your favorite? the mixture as it flows down different shaped JD: That would have to be my ‘Quadricorn’ objects I find lying around. I do this for visual piece. (Shown to the right) What could be pleasure, as well as a creative study. I find it more awesome than a four horned horse with fascinating, as I try to share that fascination pincer hooves engulfed in gravity defying into my art work. It’s just a matter of making fluid?! it flow and work well. I like to focus on folds
Right: Quadricorn
A: Have you ever been asked to do a piece of work that you turned down? If you did - how did you approach this to the prospective client? JD: A few weeks ago I got asked to commission a shirt design that infuriated me. They asked for me to design them a shirt with a specific character from a specific artist. I responded suggesting that they ask the ACTUAL artist to design the shirt instead. Artists should be approached because they like their style and their art, not to imitate another artists style or characters. A: What advice would you give to other art and design students about how to develop their own creative style? JD: I’d suggest you first find your artistic medium and start from there. Each day just draw and draw and draw, you don’t even have to show anybody. Surround yourself with your favorite inspirations and artists you admire most. A style will eventually develop and your instinct will take it from there. A: With the current climate in the world, how has this affected the art and illustration industry in New Zealand? JD: The art industry in New Zealand is very small in comparison to other art industries, everyone seems to ‘know of’ everyone. Using the internet as a tool to get your art seen is very achievable, but that can only go so far when you live in such an isolated country as New Zealand. The ‘word of mouth’ usually doesn’t even leave the shores of New Zealand, so being spotted for exhibitions in other countries best contemporary galleries and magazines is limited to ‘accidentally’ being stumbled across over the internet or books, and not to mention even more pressure to make a decent impression. Haha, I hope this answer is relative to what you were asking. (It was aha! .Ed)
Left: Moon Bear
Left: Lactoserider; Right: Turmoil
A: If there was one person from the creative world you could sit down with and have a chat with who would it be? JD: Firstly it would have to be Alex Pardee. Secondly, it would be more of a food fight, dressed as original gangsters, with marshmallow shoes and Chewbacca masks. During the violent toss of the pizza we would be telling a horror story that would make Rob Zombie’s head explode. A: Finally, do you think that creative talent is being lost due to the lack of ‘obvious’ opportunities on offer to designers? What opportunities do you think Ampersand could offer to other new artists? JD: Yes indeed, and have discovered that it is very difficult to get your name into the art world, it will often require you to do work for free. You have to physically shove it into people’s faces and to do so making an impression that will be remembered. I’ve known of people with a huge amount of talent to just give up and do something that’s “easier”. So yes I do believe that talent is being lost and unseen. It’s just a matter of not giving up before the opportunities are available for you. Find out more from Jordan at: www.eyerupture.com www.facebook.com/eyerupture
No More Heroes Any More
Punk rock in the modern world; this is the young idea. Words by Daisy Lola Punk is a many layered onion. Actually, punk is pretty similar to an onion in that it can make you cry; most people either love it or they hate it; and it can’t really be subtle - when you put onions into food, they’re a really overwhelming taste and the dish suddenly becomes whatever it is, with onions. No matter what else is in it, onions are the prevailing taste, or so I find at least, and it’s the same with punk rock music and fashion, the very idea of anarchy embodied not as a political movement or a societal state of being but as a subculture, ever changing, ever growing, impossible to be ignored and more complex with each generational incarnation… Many layered, like an onion. Aside from a bitter, purple vegetable, what is punk, anyway? Historically punk relates to angry youth with safety pins through their cheeks singing songs about
the queen on boats and glassing innocent girls in pubs - but in our contemporary society, for those who avidly keep up with punk rock and all of its trends, trials and tribulations, the movement is so much more than the faded memory of when Lydon was called Rotten and Paul Weller’s head was full of “the young idea”; it’s not so much a lifestyle as a mindset, an inspiration sourced from a bunch of kids with little education, no respect and a lot of big ideas who just so happened to shake things up so much, they changed the course of music forever. Not only music, but popular culture, fashion, the way we perceive rebellion and, most importantly, the way kids see themselves. When I think of punk rock, the kids I know who listen to Cock Sparrer and stay up late into the night sewing patches on their clothes, who have the Black Flag bars inked wonkily onto the backs of their necks and plaster their walls with
Cont...
blurry Ray Stevenson images ripped off from Google, I know I’m not thinking about kids with no direction - the Pistols snide, snarling drawl of “No future… For me!” is a thing of the past; nowadays the punks are really going somewhere and I think that makes the world of difference. Kids with mohawks, kids who know who Legs McNeil is, kids who’ll miss school on Fridays because their local band is playing in a city three hours away the night before, they’re not typically viewed as the ones who’ll go far. But here’s the thing - they are. We are. We’re the ones who know it’s okay to ask questions, who’ve got role models who went against the grain, challenged authority, made themselves unrecognisable to conventional society; and still came out kicking.
We learn by example and because we’ve seen our idols challenging what they’ve been told, so do we. If you want someone capable of running a country, look to a punk. If you want someone passionate enough to stand up in front of thousands, who’ll speak the truth without fear of societal ramification, look to a punk. If you want someone who loves with everything they’ve got and will give it a go no matter what; who’ll give their all and get right back up when life knocks them down, look to a punk. I believe that everyone who are living in the contemporary western society has something to learn from those snotty, spotty kids who ran amok, couldn’t play their instruments and spat their message of discontent in the faces of anyone willing to listen (and a lot who really, really weren’t).
Our heroes had no heroes themselves, so they fought on their own terms, decided they didn’t care that they didn’t have degrees, didn’t care that no-one believed in them and didn’t care that maybe just maybe they didn’t have a chance in hell… And somehow shook society right down to its boots anyway, somehow Punk rock teaches that, if you set your mind came out on top, somehow won. to it, you are capable of anything. Punk rock Punks are fighters. From old school punks tells its lovers to find their niche and run who saw it all in the 70s, to those who were with it - to speak and be heard, to grab life by in the van with Rollins, to kids like me whose the lapels and take it for everything it’s got; parents put on the Undertones as a child and always demand more, never accept the old made us want to get our own Teenage Kicks as order, question everything - and in the words soon as we could, to a thirteen year old who of the Sid Vicious Estate, “Don’t ever let them just discovered Green Day’s ‘Dookie’ and from take you ALIVE”. See, for punks, life may not there may ignite a lifelong fire in the soul always treat us well; we may face judgement of punk’s newest recruit, there’s something and criticism even within our own ranks; we may fuck up just like the rest of this beautiful inside of all of us that just refuses to give up. accident commonly known as humanity; but inspired by the music that makes our hearts race, our jaws twitch and our minds open, we always come out kicking.
Read more from Daisy at: www.daisylola.com
‘The Doctor is in..’ Buy a print here: http://bit.ly/tgUkLP
ANDERS LÖNNFELDT JOIN US AS WE INTERVIEW THE FANTASTIC PHOTOGRAPHER & CINEMATOGRAPHER HAILING FROM FINLAND...
So, Anders you have been a great Do you remember the first time you felt supporter of Ampersand since the first that photography and cinematography issue, can you tell our readers about who could be a serious career for yourself? you are and what you do? Well, I think it was at the time when I had I am a last year cinematography student been studying for a while, maybe between from Finland. At the moment I am living in the second and third year. From the beginning the capital of Finland, Helsinki, which is the of my studies I knew that this career would best city in Finland when considering work not be a piece of cake. But at some point I opportunities in my field of business. After noticed that I had developed a lot and that having spent 21 years living on my parents’ my standard of work had become quite high, farm in the countryside, I felt that I wanted to and that in turn made me think that I would experience something new. have a chance of succeeding in this field. Ever since I was a child I have been fascinated about photography, beautiful images, and playing around with video cameras. I still remember when my parents bought me my first disposable camera. I was so thrilled about the fact that I now was able to capture moments. The sad thing, though, was that I ended up ruining all the photos, since I did not know how to deal with the camera and the film. I felt really bad about that because I never got the chance to see what I had captured. Even though I had a passion for photography already at an early age, it was no sooner than when I started thinking about what to study that I noticed that I wanted to work with images. My first years of my cinematography studies were incredibly interesting and motivating, and for the first time in my life I felt a strong passion for something in a way that I had never felt before. At the moment I am in the process of writing my bachelor thesis. Meanwhile I am working with different projects all related to still photography and motion picture. On my desk I have several manuscripts which are going to be turned into motion pictures in the short future. These include several music videos and an international short film. Lately I have also found concert photography rewarding, as it is a new genre for me to explore.
How would you describe your visual style and creative process? My visual style includes playing around with lighting, since it is one of the most important elements in photography for sure. With light you can create the atmosphere you want the audience to feel. But I am also a fan of wellcomposed geometrical compositions. There are endless of different ways to frame a shot, but with a little extra creative input you can get incredible, aesthetical images by using the elements that are already in the scene. I enjoy working in the creative field. However, it can be frustrating at times when your creative flow simply is not there. Working with visual aesthetics is always a battle with yourself; about what you want to create and whether what you are creating really is aesthetical or not. But at the same time I believe that these challenges are a part of what makes my field of work rewarding. One of the most important elements that keep me going is inspiration. On a regular basis I check out work by other professionals in order to remind myself that I am not quite there yet and to collect ideas for upcoming projects. When I start working on a new project I start by thinking of the idea. I do not force myself to come up with a great idea all at once. The ideas usually come to me while taking a shower, while on the way to the grocery store or while
Photographer: Anders LÜnnfeldt: Model: Kris Gummerus (with cigarette) Model: Pelle Heikkilä
Cont...
sitting on the bus. I write down my ideas in my scrapbook and then I start developing them to a concept. When I plan, I always have in mind the ready product, meaning every step I need to take in the process to get the result I want. Usually planning is the biggest part, and then it is just to go out and do it. Has there been one person who has had a real influence on you, and your visual work? There has not been one, but many, mostly my colleagues. I have always been open to critique since that is one important element in developing yourself. I see how my colleagues work and I get inspired both by the way they work and by the result of their work. I think we can learn a lot just by keeping our eyes open.
What has been your favourite project so far that you have worked on/produced? I have worked on so many great projects during the last years so it is hard for me to say which of them has been the best. But one film production that I am sure that I will never forget and one that has made me develop the most was the short film The Insignificant Truth. It was a school production where we got the opportunity to work with film. We got a couple of 16mm rolls, and the task was to make a short film. This production was really crazy because our vision was really big and we were not sure whether we would be able to pull it off. But we still wanted to go for it, because we felt that this could end up to be something incredibly awesome. We had such a passion for the project. The days of shooting were some of the hardest days of work in my life, but afterwards it was worth it. I remember this one night when we had been shooting for the whole night and I was totally exhausted. I was going to shoot handheld and I had to ask the director to hold me so that I would have the strength to take the shot. Is it not weird that people in the film industry are so passionate about the project that they sometimes push themselves until they are really close to their breaking point?
Film: PARASOMNIA Director: Anders Lรถnnfeldt Cinematographer: Anders Lรถnnfeldt Link online: http://vimeo.com/20040898
Photographer: Anders Lönnfeldt “Flying Chair”
Photographer: Anders Lรถnnfeldt Artist: September (from Sweden)
Is it important to have a personal connection with the work you are doing? Would you turn down a project that you felt was not something you personally agreed with? I would like to answer that I only accept and work with projects that I feel a personal connection to, but at the end of the day, this is still how I make my living. So of course there are sometimes projects that I am not that passionate about. But I try to keep in mind that there is always something to learn from every project, even if it might not seem so at the time. At least I become more secure with my professional role after every production. And to answer the second question, I would not participate in a project dealing with something that I felt really strongly against.
Photographer: Anders Lรถnnfeldt Band: Gina Artist: Regina
Photographer: Anders Lรถnnfeldt Model: Karin Kullberg
Photographer: Anders Lönnfeldt Model: Albert Häggblom
should be able to take photographs that need minimal adjustments? This is a really difficult question which I do not have a simple answer to. But what I can say is that photos should not be compared to reality. They are images, even if they can look very natural. The extent of how much Photoshop you use always goes hand in hand with the kind of image you are producing. Some photos need more “photoshopping”, some less. I think that every photo you take, however, needs to go through Photoshop. No matter how good you light the shot, afterwards you always need to do a basic light correction in the image software. With Photoshop today you can basically do whatever you can come up with. Like with everything else in life, we just need to think about what is morally right and wrong to do.
What sort of motion picture projects have you undertaken and how does this fit in with your photographic work? Do you see more of a career in this - or do you think that it is something you will work It seems that everyone who has an SLR on alongside your photographic work? these days instantly regards themselves as a photographer - do you think that Well, since cinematography is what I it has a detrimental effect on other have studied, I have always felt that this is something I want to be more involved with photographers and their work? than photography. But I would not want I am quite familiar with this phenomenon. to choose the one over the other, since I One negative thing about this is that some find both fields interesting. And there are so potential clients do not understand the many similarities between photography and process behind good photos, and because cinematography; both fields share the same of that they do not respect the work of a way of thinking with lighting, composition, professional photographer. But this is just colors etc. Moreover, photography has something we photographers need to discuss helped me to develop myself in the field of with our clients. Except from this, I do not cinematography. To be able to succeed in the really see this phenomenon as a problem. media business, it is an advantage to have The advantage photographers have is that knowledge in more than one field. Except they have the knowledge it takes to produce from photography and cinematography I am also into motion graphics and the whole a photo of great quality. post production process of video. During the Where do you stand on the debate of last couple of years I have worked on several ‘touching up’ photos or ‘photoshopping’ short films, commercials, and music videos. In them in general? Can these techniques these productions I have for example worked enhance photography in a positive way with cinematography, lighting, sound design, or do you think a ‘good’ photographer directing, visual effects etc.
If there was one person from the creative world you could sit down with and have a chat with who would it be? This is a well-timed question. I am currently working on my bachelor thesis about visual aesthetics in film, and for that thesis I would really like to sit down with the cinematographer Anthony Dod Mantle to talk about his incredible visual work. I think his work in the movie Slumdog Millionaire was really something of a kind, and I am probably not the only one to think so since he won an Oscar for Best Achievement in Cinematography in 2008.
Film: The Insignificant Truth Director: Kenneth Klaile Cinematographer: Anders LĂśnnfeldt Link online: http://youtu.be/OMdDUFcD_ws
of view. But of course, if you are offered an opportunity you can get a kick out of it and more easily get into the creative mood as a result of that. I like the way Ampersand is now, that is showing the work of creative artists in a stylish online magazine the way the work is without having any restrictions regarding theme or genre. Since Ampersand is an online magazine it could make use of all the features possible for an online magazine. I have for Since I do not have an iPhone myself, I have example seen videos and other interactive not really used those apps at all. But my friends solutions in a similar online magazine, which play around with them all the time. I really I thought was innovative. like the idea and I would probably use them if I had an iPhone. They give a nice feeling to Anders is most certainly one of the most photos without any extra work. But I would talented young creatives that we have not use these apps for anything more serious interviewed so far, and is most definitely a than for capturing memories. To achieve name that everyone will becoming more the same look in potential professional familiar with sooner rather than later! He is projects, I would rather choose to shoot with fantastically talented and whether his future Lomography film, a Lomography camera or lies in cinema or in photography we are just with Impossible film (aka polaroid), which I glad to interview him before he hits the big have played around with quite a lot. time! We have a lovely iPhone and are totally in love with the Instagram and Hipstamatic photographic apps, they bring a fantastic sense of fun to taking photos - how as a photographer do you feel about apps like this? Is there the scope for them to be used by professional photographers for projects or collections?
Finally, do you think that creative talent is being lost due to the lack of ‘obvious’ opportunities on offer to designers and photographers? What opportunities do you think Ampersand could offer to other new artists?
We all here at Ampersand would just like to thank Anders for such a fantastic feature and taking some time from his busy schedule to give us an interview. Find out more from Anders at:
I believe that if you are a creative talent you http://www.anderslonnfeldt.com can create your own projects. That is one part of what it means to be creative, in my point http://www.twitter.com/AndersLonnfeldt
Photographer: Anders Lรถnnfeldt Model: Ellinor Jansson
PENNY POORLY & HER POORLY DRAWN THINGS
Poorly Drawn Things was born July 2010 out of a small black moleskine labeled The Small Book of Poorly Drawn Things. Detailing the tumultuous inner life of Penny, Poorly Drawn Things has grown from tiny bic and sharpie pen sketches to large watercolors and beyond. Penny’s obsessions and paranoias include death,fear, religion, childhood, panic, and mental illness.
Find out more about Penny & her wonderful illustrations & Penny’s Etsy shop: http://poorlydrawnthings.com http://www.etsy.com/shop/poorlydrawnthings
Hyshil
Sandere Graphic Designer and Illustrator •Amsterdam
So, What a fantastic name Hyshil! Can you tell our readers about who you are and what you do? Thank you! I’m a Dutch, 28 year old graphic designer and illustrator with black hair from Amsterdam where I live with my German husband and half-German daughter. I was born in Seoul, South-Korea which looks cool on my passport, but was adopted when I was a baby and now I’m taller as planned. (haha!)
cliché or forced. There is a fine line between when the design becomes too much or too minimal and I always try to keep an eye on that.
My overall creative process (I’m talking about my drawings now) involves a lot of thinking. I don’t enjoy sketching much. I want to try I work freelance, designing for magazines (at immediately and most drawings were made their offices) and illustrating from my own in one effort. Sometimes when an idea doesn’t studio space. work, I just stop and rethink. Do you remember the first time you felt I do collect articles, books, poetry, magazines that creative design was the career path etc. around me to fine tune a certain feeling you wanted to take? or idea. This way I usually come up with the right image or colours and it sometimes keeps Not really. My mother told me all children me on track. like to draw (why do we stop?) but with me it was pretty excessive. Everybody always I also like to listen to the same song over and assumed I’d go to art school, and I also never over during each drawing or project. really took any other option seriously. Has there been one person who has had a How would you describe your design real influence on you, and your art work? style to our readers - and how would you describe your creative process? In graphic design, there are quite some amazing art directors I’ve worked with and Everything I make, whether it’s designing a everybody teaches you something different, magazine or illustrating, is very feminine. but recently I’ve been thinking a lot about Tara van Munster, art director of Dutch ELLE. I In design I like it when there is dimension and always love working with her because there’s depth in the lay-out. Of course I like to play a nice back-and-forth between us and she sets with typography but without it becoming the bar high. Whenever I work somewhere else and I’ve finished something, I wonder what she would say. In art, I really try to focus on my own thoughts and ideas. But concept-wise I feel very influenced by artists like Elizabeth Peyton who really know how to make you look through their eyes. On a personal level, I’ve really learned to be open for anyone you meet. I try to find a way to connect with everyone and I’ve already been surprised so many times of what you can find there. It is truly enriching.
What has been your favourite piece of Is it important to have a personal art you have worked on so far, what connection with the work you are makes it your favourite? doing? As growth and development are really really Definitely! I always make a true effort to important to me, I usually like my latest work connect to anyone I work with. Or anyone I hang out with for that matter. You can miss so the best. Unless it sucks of course haha! much if you don’t. Right now it’s the drawing of a mirrored forest where you see two legs coming from under Would you turn down a project that you the trees. Behind my father’s house there are felt was not something you personally these huge, completely out of hand conifers. agreed with? And especially in winter, at night when you see the snow sparkle, I could feel so safe It’s not that black and white I think. I between them, even though they were huge sometimes do things that are not my personal and dark. taste, but I love working with the people
involved and still learn from them on another level. Staying in your comfort-zone is too easy I think. You have worked with some really high profile publications such as Elle, Cosmopolitan and Red - how did you come by working with them and did you enjoy it? I love magazines. I still spend an embarrassing amount of money on them and have always been very focused on getting to work there. I interned at a fashion magazine and after I graduated I started freelancing. This just rolled on. I got some great breaks and I guess I have the people who hired and helped me to thank for it. I do enjoy it still! I’m very happy with the variety of working in that world and drawing in my studio space. The nuances in between are what makes my it interesting. What advice would you give to other art and design students about how to develop their own creative style? I felt guilty about not being all over the typography and design books when I was studying. They intimidated me and I had no connection to them. I really needed the time to figure out what I like, step by step. This takes time and experimenting. Now that I know much better what I like, I’m ready to think Ampersand could offer to other let others inspire me and develop. If you don’t new artists? know what you prefer, all the other stuff is I don’t know... I’ve never looked at it that just distraction. Very similar to life. way. I never thought, why is there so little If there was one person from the opportunity for me? I always wonder what I creative world you could sit down with have to offer and work on that. and have a chat with who would it be? As for you… keep all the relationships in your Elizabeth Peyton and I would want to talk network natural and see what can grow from about her Napoleon book, which I love, LOVE! that. A book, an exhibition, a mutual project. As long as it has a true foundation with the Finally, do you think that creative ones involved, nothing bad can come from it! talent is being lost due to the lack of Find out more about Hyshil: ‘obvious’ opportunities on offer to www.hyshil.com designers? What opportunities do you www.twitter.com/hyshil
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.
I was recently asked what inspires me to design, that’s kind of a hard question to answer really. I can however answer it in two different ways if I slightly re-arrange the sentence.
from. I majored in Marketing and advertising but later found my own personal love for creating books. I love that feeling you get when you hold something in your hand that you created, I guess its like holding a child except you actually did more to If I follow the original make it than just wait around question then my answer to for it to show up. what actually inspires me to design is mainly fear and love. However if I answer the I fear that if I don’t continue question slightly differently, to design, to continue to learn what is my inspiration for new techniques then I will my designs it’s a completely fall behind and be forgotten, different ball game. not that I’m in a light to be remembered anyway. A lot of my influence comes from games, the artwork I’m always worried that I itself is just mind blowing. will pass through life and not I find that computer games leave my “mark”, that I would introduce me to design of learned my trade and never aspects that I may have been use it. I also fear that if I don’t oblivious too before. I gained keep pushing forward and try my complete obsession to design and try to get a job with 1940/50’s design from I will have failed everyone Bioshock and Fallout, the who ever encouraged me, use of that particular era’s loved me, believed in me. style just blew me away. The first ever Final Fantasy game Thinking about it then guilt I bought I spent the first 20 has a part to play too, I feel minutes looking at they box guilty that I have wasted art. peoples time. However on the complete contradiction to I liked that excitement of that I love design, and what I initially making my own do. I love making stuff people story from the pictures. can use or gain something Character design and world
design plays heavily in my design too, I love the use of colours within games as I can see how different colours can mix and create colour palettes before starting a design. I think because computer games don’t follow the same regulations and filters as say advertising they have an advantage and are allowed to follow aspects more freely. This is why they give me inspiration because of the things I was always told to avoid. I was always told to not be so crazy with my ideas and always told to reign them back a bit, which I think hindered me. I feel design today is all about status, too many people trying to be world famous. Trying to be number one on Tumblr or Dribbble, forgetting why they design. I didn’t start out thinking I want to be the best designer in the world, all I ever wanted was to be able to design something good and useful that my clients asked for. That’s why things like video games inspire me so much, because they just have full control.
Follow Andy’s work at:
www.am-creative.org.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/adamjames www. andyneedham.tumblr.com www.on.fb.me/thMpU1 www.youtube.com/user/dasloverly www.facebook.com/jackalexanderphotography www.themindstate.tumblr.com www.francescaillustrates.tumblr.com www. charlottebradburn.com www.bayleydesign.tumblr.com www.eyerupture.com www.daisylola.com www.anderslonnfeldt.com www. poorlydrawnthings.com www.hyshil.com www.little88.tumblr.com
A big thank you to you all!!
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
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
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!!
AN ECLECTIC CREATIVE SHOWCASE
THIS ISSUE:
A PIRATE’S LIFE FOR ME!
02
WELCOME
WELCOME TO THE SECOND ISSUE OF AMPERSAND MAGAZINE, A SHOWCASE OF SOME OF THE FRESHEST CREATIVE TALENT FROM AROUND THE WORLD.... Wow. That is best how we can describe the reaction we have experienced from the first issue of Ampersand after it was released online. It has been fantastic to see so much support for what would seem such a simple idea, giving fresh creative talent a worldwide platform to promote their work and talent. Over the last month we have seen hundreds of followers join us on Twitter, Facebook and Tumblr, helping us achieve a massive audience with the magazine. We have been inundated with submissions to the magazine and creative talent getting in touch to ask how they can get involved. It is wonderful to see that there are people who are as passionate about design as we are here at Ampersand. One question we have been asked a fair bit since the release of our first issue online, is that will the magazine be made available in print? Currently we only plan to release the magazine issue by issue online, why you may say? Well, by keeping the magazine online and digital based, we can keep the magazine accessable to all, and reach the widest audience possible for the creative talent you will find in the magazine. Although we do hear you, and we all love print here, so if there is enough interest we may make a special limited run compiling a collection of issues in a sort of compendium available to purchase . Well, onwards into issue two 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... If you asked people that know me to describe me, you may get a few people talking about the way I look, you may get some people tell you that I can be a little self conscious, you may even get some people (few admittedly!) that may say that I am good fun to have around; but nearly everyone usually comments on that I work incredibly hard and have a huge passion for creativity. That passion has been the driving force behind the inception and development of Ampersand. About ten years ago I embarked on a creative journey that would take me from my own education, through to working in industry and into the education of others. When I am not living the international playboy lifestyle that comes with being the editor of Ampersand I am college lecturer, imparting my knowledge of graphic design to students like myself ten years previously. Although I enjoyed working within the creative industry I soon realised I had landed a job that I should have really had a few years later in my career , the agency that I worked for let me work for some major clients and with the freedom a junior designer should only be dreaming of. Unfortunately when the bank comes calling the last in first out policy really comes into force and it was as quick as a 15 minute meeting that I was informed that the company could not meet my salary any more. As I was offered positions in other agencies I came to realise that I was going to be really limited in the opportunities in terms of projects, as my previous work seemed to hold no weight with them. If I was to be a junior designer, I had to come to terms with I would get the raw end of the deal for a few years to come. I also started to learn about the arrogance of some within the creative industry. Not everyone, but there were definitely some people I spoke to that did not care of your experience, but rather the institution that you attended, who you knew, rather than what you knew, It was at this point where I was seriously doubting my creative passion that an opportunity fell into my lap. That opportunity was teaching and education.
I always wanted to teach, it just came around a lot sooner than I ever thought it would - the ÂŁ7500 bursary was also an added incentive! So over the next year I realised that I could actually utilise my passion for creativity to help others realise their passions, and find their creative side. This career change I saw as a way to reinvigorate my own ever so slightly waning creative side. What I did not count on though is how little schools and the national curriculum inhibit creativity amongst pupils and staff alike. So I was back in the same position. Passionate about a something that no one else it seemed to really care about. Schools may say they like creativity, but they like high grades more. My students were learning to be creative, but the numbers of pupils who just did not care, saw design as a lesson they took because they had to, not because they wanted to. It was this that caused me to walk away from this form of education, an archaic formula that did not care if every project was identical, as long as it achieved a high grade. This was me selling my soul. I was not enthusiastic, I resented teaching the subject, and closed the creative cupboard. After taking a couple of months out to sort myself out I got a phone call out of the blue, asking me whether I would like to attend an interview for a lecturing position. I went, not really expecting much, but to my amazement I was sat there with three other guys who sat there talking to me about creativity with the same passion I had locked away. As we continued to talk, I could see that this was the type of outlet that I had been searching for, a job that encouraged creativity more than anything. As I talked with them about my experiences, I noticed something unfamiliar, they spoke with no arrogance in regard to their previous experience, their sole purpose was to encourage each student to be as creative as they could, no matter their ability, their background or experience. It was this point that I remembered those opportunities that many other creative individuals and I had experienced from some cont
Adam James by Laura Childs
of these arrogant areas. Belittling their creativity just because of their experience or education. It started off a brainwave that culminated in what you are reading now, a showcase for creative talent. I feel that there are so many creative people out there that do not get the recognition they deserve, or the breaks to get a foothold into the industry. One such individual was Laura. You will have seen her feature in the first issue, and she has been kind enough to take time out of her busy schedule to capture me in the illustration you see here. Whilst looking for an outlet for my creativity I signed up to Tumblr, and I used it as a place I could get out and to share things that inspired me along with some of my work. What I did not expect though, was to meet so many like minded people out there, many who have become firm friends and colleagues. It was through Tumblr I became acquainted with Laura’s illustrations. Here was a talent that crazily enough was no more than a few miles from myself, that I could have gone for years never seeing, but via my worldwide search for like-minded people I ended up finding this amazing talent right on my doorstep. With every illustration I saw I was determined that she should have been snapped up by some media outlet already, but the limiting factor? No one was there to give her the breaks, sound familiar? Over the past year I have been looking into many ideas, but Ampersand is one that has always stuck and sounded less crazy than the others! I have always found design based magazines either too focused on one area, or focussing on more well known designers with the obligatory ‘new faces’ segment almost as an after thought. I thought why do we want to know about someone you only have to type their first name into Google and you get fifty thousand results? I’m much more interested in the people we do not know! There are some amazingly talented creatives out there that get no recognition, who eventually give up on their dreams and join the masses, their creativity lost forever. I am always reminded of Dawn from ‘The Office’ where she refers to herself as how she started off as an ‘illustrator who is a receptionist on the side,’ but then coming to terms that she has become a ‘receptionist that does illustration on the side.’
This is a notion that I think needed to be addressed, and this is why Ampersand exists. To give a platform for fresh and unsung creative talent to scream for attention from! I see this magazine as a unique little voice demanding to be heard by the masses. Covering all aspects of creativity from music to design, art to photography and fashion to beauty. It leaves no creatively painted or positioned stone unturned. It is this reason that as the editor of the magazine I thought it was important to communicate just what the magazine is all about and where it has come from. I want people to understand that the creativity is driving us all to deliver a fantastic showcase of creativity that gives the opportunity to all no matter your background, talent and location in the world. Each issue takes a lot of work and time and without everyone pulling together nothing would ever get finished! We are most definitely burning the candle at both ends......if not to mention the middle as well! Even in this short space of time we have had an overwhelming response to the magazine, thousands of readers of the entire magazine and almost a quarter of a million views of pages, it means that we are not only the ones who feel that creativity is not being recognised enough! As you will have probably followed through the month just passed, we not only have a lovely neat new little website, but we (Ampersand) were made affiliate members of the British University Artists organisation in recognition of what we are doing to promote new talent. An honour that we are incredibly proud of! Coming full circle though, I think you may have discovered that I have totally rediscovered my passion for creativity through Ampersand. Working together with other creative people in lots of different sectors has really reminded me why I so passionately wanted to work within the creative industry. So as you will find, every issue of Ampersand will most definitely be eclectic as possible and open your eyes to some amazing new talents as well as some that have been quietly going about their business for years without any deserved recognition. As long as creativity needs a voice, I will do my best to promote it! Follow me over at twitter.com/@adamjame5
ART
Cave by Christine Montgomery maxplusmira.tumblr.com
ILLUSTRATION
Round by The River
By Sarah Copson
Highly commended by the A.O.I exhibited in The London Transport Museum as part of the River Thames poster collection 2011. Sarah: ‘Using colour, shape, symbols and mark making I wanted to convey the versatility, inspiration and positivity that London oozes. I decided to use The River Thames as a core to the dynamic city, showing how it positively enriches the city providing flow and substance to the different regions.’ Explore more work at: www.sarahcopson.co.uk
“The power of print, is the power to change the world.” Adam Cluley
adamcluley.com Twitter: @AdamCluley
QUESTION
What is the best thing about print?
“The versatility of paper adds much more than the actual graphic, giving it much more character overall!� Theo Kennedy Cordner
themindstate.tumblr.com Twitter: @mind5tate
QUESTION What is the best thing about print? “It is the only thing that can take me back centuries and centuries, and I would not hate a minute of it..” weshallflythisplace.tumblr.com
“Print is magical because it is personal. You can not replicate this digitally.”
Twitter: @jameswng
“I like it when the ink from a newspaper or magazine rubs off on my fingers. It feels like learning” Twitter: @whipstache whipstache.tumblr.com
“I love the beauty of a printing error.” holly-marriott.tumblr.com
“The feeling of paper between my fingers, rubbing a page as I read text & cutting out articles that I love & enjoy. The printed word will always be timeless to me, as it should be with others.” Shereen Younes Twitter: @SierraUnes
“There’s a greater satisfaction to holding a printed piece of work in your hands than looking at it on a computer screen.” Twitter: @johnfolddotcom
“Print by itself gives you a sense of excitement just by a flip of a page....� Asmahan Safie Twitter: @asmahansafie asmahansafie.weebly.com
QUESTION
“Print is timeless; you can hold a copy of a book in your hands that has been passed on through generations they are not subject to iUpdates!” Daisy Lola
daisylola.com Twitter: @xdaisylola
What is the best thing about print?
POETRY
Your clothes on my floor Is the cocoon you left When you grew tired Of our life. I watched you leave Frozen by the season Of Winter, our Love Withered away. You clung to my back And grew strong, You kept me in the dark For far too long. When I awoke there It lay simple and true A shell of us, what we had The loveable old ‘you’.
By Shereen Ann Younes thethingsiwriteonhere.tumblr.com
THE AMPERSAND WEBSITE IS NOW LIVE!
We have made contacting us and submitting work and features to us even easier! Keep up to date with all things Ampersand just make sure everyday you.....
VISIT: WWW.AMPERSAND-MAGAZINE.COM
MARIANNA MADRIZ. ILLUSTRATOR. 19. MILTON KEYNES UK
ILLUSTRATION
Marianna in her own words....
“Originally from Venezuela, I moved in England with my family about four years ago, and I was instantly blown away by how I could use my drawing skills and play with my ideas, in order to create characters and situations that could appeal to the masses (or at least that is the goal). I take my inspiration from films, animation, comics, random thoughts, random conversations with friends and even more random train rides. I will start my Illustration degree in the Arts University College Bournemouth this year, so I can evolve in my work - and create more randomness, of course.�
WWW.MIXINGTHESKY.CREVADO.COM
OPINION
HAVE I BECOME A DESIGN SNOB? LOCATION: UK You see, I love design. Properly love it. When I’m out and about I analyse things I see, remember things that may influence stuff I do in future, and talk about it a hell of a lot. But I have this nagging doubt now that the things I used to like, which used to influence me, just don’t anymore. For example, Kidrobot. Now don’t get me wrong I loved this stuff, you wouldn’t have found anyone more excited when they had a pop up shop in Selfridges in London, or when I found out they were actually opening a London store. However, I don’t want any of it anymore. I look at the Dunny ranges, and feel uninspired with them, I don’t care for them any more. Designers like Huck Gee, even though I would be (and have been in the past)
destroyed for saying my reaction to his work is ‘meh’, I really feel that designers like this are living of their reputation, and are being far from creative anymore. What was once fun and different has been replaced with mundane repetition. I use Huck Gee as an example because this guy could spit on a piece of paper and some fool collectors would pay exorbitant amounts for it. They are buying ‘Huck Gee’ rather than buying what they like. Now I am not saying for one minute that I don’t think that Huck Gee isn’t a good designer, just one that has found his style, settled into a routine, churns out a few limited or one off pieces, sticks them on ebay, and makes a fortune. He then dishes out designs for the blind boxes, of which none have
OPINION blown me away for a few years. I mean, if you could do that, make the money, then we all would - I just feel that this sends the wrong message out to up and coming designers. I would never encourage my students to play it safe with design. Design is about taking risks, that’s why we are designers. If I wanted to play it safe, or for them to play it safe I would tell them to go and work in Tesco. As a designer it is the opportunity to inspire those around you with your work and creativity that should drive you forwards. To not play it safe and to set trends and develop them rather than replicate and follow trends. A designer I knew very well, when overlooked for a position within a consultancy that offered me a position actually said to me ‘Why did they offer YOU a job, I’m a much better designer than you?’. I have never forgot this, and it still pushes my creativity to this day. The simple answer is that I took risks. I didn’t care if someone told me my end product was crap, as long as I was happy that I had produced something that was my own, oh it may well have had influences from other designers, but the key was to have it inform and direct my own creativity, than try to replicate what I wanted to produce in their style. This is what the other designer used to do. Take whatever was flavour of the month design-wise with them, and shoehorn it in whatever they were working on. Well of course their end product was supremely polished, because they knew what it should look like. Design should be about breaking new ground, opening up new experiences to the masses and encouraging others to explore their creativity. You should be exploring you own end product, and there is nothing more exciting, but fear-inducing as the halfway stage in a project where you don’t know whether its going to turn out ok or not. Which leads me back to my original question, do I think I am a design snob? Well for all intents and purposes, yes, possibly, probably. Do I care? Not really. I wish that sometimes that some areas of the design industry would take the chip off their shoulder, the one that rubs so many ‘non-designers’ up the wrong way. Yes we can all laugh at the amateur use of comic sans, or clip art in someone’s design, but when all is said and done, they don’t need an ‘expert’ to patronise them. They know they
aren’t designers, that is why they approach design agencies to assist them and their businesses, but on the token, this is why people are going it alone and not consulting design agencies. I know many people who have been patronised and belittled when dealing with ‘well-known’ consultancies, made to feel stupid, and forced into going along with the ‘style’ of the consultancy. This is where I feel ashamed to have been a part of this industry, people don’t trust designers, not like they used to. People are more informed these days and rightly can make an informed decision about the direction of their project. There is an air of arrogance that surrounds many designers, who find their own self importance much more of a concern than the needs of Mr Smith the local butcher who wants to revamp his business, but to maintain his heritage, snow ploughing him into things he may not have the fortitude to disagree with, considering they are the ‘professionals’. Now I am not saying that I have not been guilty of this in the past, because I have been. You almost get pushed to be self confident to a fault in an agency, and because there is such an atmosphere of self competition, it can cause many issues to arise. I left the mainstream industry and I am totally glad that I did. I would not like to become the person I found myself becoming whilst working in the industry ever, and I would rather be snobby about design, and what I like and dislike within design than to think I knew better than everyone else. It is my opinion on design which matters to me, it isn’t my place to tell others what good and bad design is, we are created to be objective, and that is what everyone should be. Just because I don’t like comic sans, doesn’t mean you are wrong to like it……. (but you are). I don’t know where I stand within design anymore, have I hit a point where the design cycle is passing me by and I am starting to get fed up of current trends? Maybe. All I know is that each and every day I find something new that I love, every day seeing something different, created by some of the most creative people in the world. Do I care that I won’t be fawning over Huck Gee’s new releases? Not at all, but then again, he probably doesn’t care what I think either. By Adam James Graphic Designer & Lecturer jamesydesign.tumblr.com Twitter: @adamjame5
Wallpaper skin. We slap on The bright colours Over the bruises And the marks Tired bodies Are darned with From our reckless hearts Underneath These marks fester Underneath Our walls will crumble, And in cracks our fear grows Paper splits and wounds show. But there she stands Bare and reckless Her bruises shining Like a necklace Bruised eyes tired And plastered over As the silent world beholds her. Bare hands tremble Fingers twitching She rips at the paper And the stitching Bright eyed girl Observes the world Bare and bruised and unrelenting.
Shereen Ann Younes thethingsiwriteonhere.tumblr.com
POETRY
I. Think, I’m not What people Describe; Not the bad guy Not the good guy I’m just plain old, I. I who feels. I who breaks I, when broken topples and Shakes. I who freezing want the warmth of a hand To feel the lips of a lover not the Fist of Demand. I. when hurt can be lost, feel helpless I. have seen times both Good and Bad relentless. I. who undeniably, just like you been broken, bleed and bruise Have memories kept, and at moments wept Whole Nights and Mornings through.
Shereen Ann Younes thethingsiwriteonhere.tumblr.com
ILLUSTRATION
Mark Allen. 22. Illustrator. UK. Mark Allen recently graduated from Sheffield Hallam University with a 2:1 in Graphic Design, specialising in Illustration. His work involves strong use of textures that he has gathered over the years and also pattern work within the design. Although all of his work is photoshop based, every aspect is hand drawn before, with a minute sense of attention to detail.
Mark has been involved in a number of ‘Live Art’ events up in Sheffield, where he would draw on large canvases within bars, Tramline festival and Sheffield’s Student Union. Children’s book illustration, is especially of interest to Mark and the pirates and the animals you see here are all involved in a project that he is currently working on at the moment.
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….
That time of year has just past us. The time of year where all design students hustle about with their final year shows and dissertations, eyes glistening as their course is about to finish and nervous as they get to take their first steps into the big wide world as a ‘Creative’. They drink their final coffee’s as a student and move onto finding a job. But in all realistic terms, how hard is it to get your foot in the door of the industry?
Well in all honesty at present its crazy, some students will fly into jobs straight out of university and well done to them. However there are others where it takes a long time, who seem to just sit back and watch the world pass them by. Not by choice but by ‘fate’ or ‘luck’ just does not want to give you a helping hand and leave you sat there unknowing and flustered. It’s nothing to worry about, it is just what happens. I myself am in this situation, trying to get my foot in the door. Problem is that the door isn’t opening to allow me to get my foot in. So what do you do? What do you do when the big solid door remains shut to you? When the one thing you have been studying, training for seems so far out of reach? Answer, remove the door, or at least try to. I have tried to remove the door, hoping that if I make enough noise that someone will come out to see what is going on but no luck. I sat there wondering why it’s not working. Then I begin to blame everything else, the current job climate, my university for obviously neglecting to tell me a ‘sure fired’ trick that will get me instant employment. I then had days of trudging through job applications thinking in the back of my mind that “I’m not going to get any of these, I am too crap at what I do” and when I heard nothing back I thought “Obviously I was right”. One of the worst things for me personally when applying for jobs is when you apply for the job and two minutes later you receive a phone call asking you loads of questions quoting “ I think your perfect for the job” getting your hopes up never to hear from them again. The other worst thing for me is the pressure I put myself under, constantly feeling like a failure and that I have let everybody else down because I haven’t got a job yet. I even started to try and change myself out of desperation, change my appearance, my self and the way I interact with people. I generally thought at one point that the reason I wasn’t getting a job in design was because I’m 5ft tall and can’t fit into a pair of drainpipe jeans and didn’t have a fringe, even though they had never seen a picture of me! I know, seems crazy but that’s how stressed I was from constantly applying, crying that nothing came about and feeling like I could
never achieve. All the while people telling me my design work is good and that it just takes a bit of time, and me sat thinking “well it’s been over a year now, how much longer should I wait?”. All the while working in retail serving the people who have the jobs I want. It’s really distressing, and utterly soul destroying. However I did find a couple of clients from working in retail, it’s strange but you meet a lot of people and sometimes get lucky. It was just by pure chance and a bit of confidence that I spoke to my client about his personal work as he said he was looking to purchase a camcorder for his business. I asked what he did and then with no hesitation told him I could help him with what he was doing and amazingly we exchanged details and now work with each other. It was one of best moments so far in my ‘career’. Finally someone was offering me a chance, and even after seeing my work was still willing to work with me. That is one of the best feelings you can ever have after struggling to achieve something. That feeling where someone likes your work enough to offer you a job. I now spend my time working on his businesses literature and am constantly thinking of new was to help his business expand, and hopefully he is more than happy about working with me. We are still talking so that’s a good sign. After that I calmed down, that was enough to stop me from completely losing it. That was when I realised that it would take time, that I am just one of those people who have to work a fair amount harder than most to get the breaks. You realise things like this when you sit back and re-evaluate your life and approach to things. I heard a quote and it sticks with me to this day - It took Michael Buble 10 years to make it big as a singer. That’s an incredible amount of time to keep trying, and I sort of related to it. That it can take a long time to make it, but I look at it like this ~ if it took him 10 years to make it I have another 9 before I should call it quits. The only advice I can actually give is this, just keep at it. Find new ways to beat that catch-22 “ To get a job I need experience but I need a job to get experience”. Find Andy at: little88.tumblr.com
LARA-JANE VAN ANTWERPEN. GRAPHIC DESIGNER. 19. UK
I’m about to start a Graphic Design degree course at UCA, Epsom. To stop myself being bored where I live at the moment, I love watching films. Film is where I got my first taste of graphics design. It’s this that
spurred my dream of working in the film industry where its opening credits, film posters or just in film graphics. What’s more exciting is that 3D is huge, which is opening up a whole new level of design.....
TO FIND OUT MORE VISIT
LARAJANE1.TUMBLR.COM & LARAPORTFOLIO.TUMBLR.COM
FASHION
WILL JACK WILLS
BE HERE NEXT YEAR? University Outfitters, the slogan for the babies on the high-street, Jack Wills. The brand which saw a surge in sales of anything with pink & navy stripes on, and a rise in even more penniless parents. It’s 2006. Jack Wills launches itself onto my local high-street in Cheltenham. I’ve never heard of the brand, which occupies a gigantic two-story store in the centre of town, rubbing shoulders with the likes of Laura Ashley, Reiss, Hobbs and White Stuff. The store used to be a huge Waterstone’s, so you can imagine it’s size. I go in on open day, intrigued by it’s indie music and dark interior and on opening an antique wardrobe, I find a rather nice-looking hoodie, priced at a jaw-dropping £69. Boxers were £19. Socks £14. T-Shirts £29. Without even wanting to travel the 50 metres to the other end of the store, I’d walked out, wondering why the apparel was so expensive? Yes, I’d paid £29 for t-shirts before, but they were from reputable brands such as UCLA, Ralph Lauren or Fred Perry. The problem was that this store had no brand foundations - nobody knew who it was or how cool it was to become - well, except for one target market: the privately educated. Within days, students from local private schools were parading down the promenade with large cream ‘Jack Wills’ bags and were often seen hugging their Fathers for forking out the hundreds of pounds on new clothing. It’d become THE place to shop and that had been caused by us regular people wanting a bit of the luxury. Luxury that was affordable, just. Within six months, if you had a Jack Wills carrier bag, you were presumed rich. Agree with me or not, but it was. Walking down the high-street, you’d see girls tucking their JW sweatpants into their UGG boots, flaunting one of the stores carrier bags, full of new clothes. Jack Wills was an exclusive brand. A club. If you were regulars, you’d hang out in the games room upstairs, whilst your friends tried on a new shirt. Staff would greet you with “hey there, nice t-shirt” - a product of great staff training, but it felt like they really meant it. I hope they did. I remember going into Jack Wills at 6am on boxing day, ready to buy more of the stock at reduced prices.
I’d been given an exclusive extra 20% if I arrived early. I did of course. Jack Wills was beginning to take over my life. I wore it religiously. It was THE thing to be seen in. I’d trawl the forums on its website, talking to fellow addicts. I’d seen the photos of the parties they held at the store, wanting a piece of the action. I’d planned to visit other stores, whilst wearing the club uniform. But then, it all changed. Jack Wills was no longer exclusive. More regular people like me had decided it was worth paying the extra for. The high-street was full of parading preps. I didn’t feel like I was standing out anymore, I was blending in. Then I saw a chav sporting a £79 hoodie with some trackies and that was the last of it. I’d spent around £600 on Jack Wills and I gave it all away. Jack Wills will always be one style and it’s no longer the trend, and when in retail if your products become THE thing, your sales will rocket. But when that trend ends and the followers move onto another brand, you may as well call it a day. I can’t see Jack Wills being around for much longer. It’s target market has changed and the fashion-obsessed 13-22 year olds have moved on and realised that individuality is the key to their style. The one thing Jack Wills has FAILED to establish is that their target market was always University students. University students famously live on a ridiculously low budget and cannot afford the sky-high prices of JW clothing, and if they can, they’d rather spend their money on a bottle of Vodka than a new hoodie. It’d be a huge shame to see it go, but JW needs to radicalise it’s self and make it more affordable for everyone else, if it’s to see it’s sale rise. People no longer can justify the high-prices for it’s clothing, especially when it’s no longer THE trend. It needs to diversify it’s style and focus on it’s clothing, than it’s new line of accessories & stationary. Their clothing is of high quality and I still love Jack Wills, but it’s no longer for me anymore. I’ve kept my first hoodie, for sentimental value. It reminds me of a time when I was a prep. Article by Mason Moore www.masonmoore.co.uk
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