ShellsuitZombie Magazine Issue 1 by ShellsuitZombie

THIS IS DAVID AND GOLIATH. MAKE NO MISTAKE ABOUT IT. YOU ARE SMALL, IT IS BIG, BUT YOU HAVE A FUCKING ACCURATE SLINGSHOT. IT CAN CRUSH YOU IF YOU LET IT, SO DON’T LET IT. DUCK AND WEAVE, STAY ON THE BALL AND USE ITS OWN STRENGTH TO YOUR ADVANTAGE. IT’S A BLUNT INSTRUMENT, CAPABLE OF GREAT THINGS, BUT DON’T EXPECT IT TO DO YOU ANY FAVOURS– GIVE IT AN INCH AND IT WILL TAKE A MILE. THERE’S NO ROOM FOR SHRINKING VIOLETS, SHAMELESS SELF-PROMOTION AND TIRELESS NETWORKING ARE THE NEW ORDER OF THE DAY, AND NOW IS EXACTLY THE RIGHT TIME TO START, SO START YOU MUST. USE YOUR WORK, USE YOUR BRAIN, THIS INDUSTRY IS YOURS FOR THE TAKING. IN THIS MAGAZINE, OUR ANSWER TO THE GLOSSY TEMPLES OF BIG-BUDGET PHOTOSHOOTS AND AWARD-WINNING INTEGRATED CAMPAIGNS, THERE WON’T BE EXTENSIVE COVERAGE OF WHO DID WHAT WITH AUGMENTED REALITY AND WHY CONSUMERCORP’S NEW USER-GENERATED LOGO IS GENERATING SALES DESPITE LOOKING LIKE A ROBOT’S COCK. IT’S ABOUT YOU, THE FUTURE ROCKSTARS OF THE CREATIVE INDUSTRY. WHAT YOU GONNA DO ABOUT IT, CHUMP?

Editorial

Wow, so this has been a while coming. When we first started ShellsuitZombie in January 2009, it was going to be a print mag. We then realised we had neither an audience or any money, which somewhat scuppered that plan. Instead we focused on online stuff and, like the stonefish waiting for its prey, we have bided our time until now. Many scoffed at our plan to do a print mag. ‘HA’, they said, ‘PRINT IS DEAD’. Well for one it isn’t and frankly even if it was we wouldn’t care. In the increasingly expendable world of over-saturated online media, headlines become chip paper so fast that if they were committed to print the current overfishing crisis would look like a missing tadpole in the school pond. So why not produce something with more value, even if it’s just to us. We’ve tried hard to avoid the self indulgent ‘zine’ content, but if we have been at all unsuccessful in that it’s only because maybe this magazine in it’s nature is somewhat self indulgent. Why not, the industry we work in is by its nature subjective anyway and the beauty of independent press is that we answer to no-one. We have produced this only because we wanted to and make no apology for that, you don’t have to buy it. However we hope that everyone who reads any or all of the following pages will find something of value, whether it’s just a little gag or something more profound. We’re proud of it and we want to do more, so do let us know if it induces any deep feeling of love, despair, lust or a sudden desire to bake. We want to know what you think. This is issue 1. We hope there will be many more. love and hugs Jonny

ShellsuitZombie Team: Jonny Burch Rob Butcher Ross Taylor Ellie Offord Ricky the Rickshaw

Contributors and Interviewees: Adrian Shaughnessy Steffen @ Eboy Sanky & Laura @ D&AD Ian and Nick @ Glug Noel Leeman Andy Cooke Chris Shearston Victoria Talbot Andrew Muir Wood James Corazzo Stockport College Jack Hartnell James McNicholas David Rudnick Christine Donnier-Valentin New Future Graphic The Designers Society Ugbot Andre Lucato Ellie Smith Paul Shinn Paul Bence John Newton Tim Smith

Photography by Christine Donnier-Valentin

www.shellsuitzombie.co.uk

Graduate Thingies Graphic Design Myth No. 1 Adrian Shaughnessy dispells it readily p18 Ready or Not? What does ‘Industry Ready’ mean? We set some tutors on a path to find out. p22 The Placement Game Should one expect payment for a placement? Is it worth doing for free? p42 Gatteau Fabulous Victoria Talbot on baking her way to the top p50 Idea VS Execution Which is of greater value to a graduating creative? (An argument ensues) p54 Creative obsessions A few of our guilty design habits revealed p56

Interviews, Features & Wotnot Eboy Quickfire questions with the German Gods of pixel p8 Glug A half-cut interview with the organisers of the infamous creative ‘Notworking’ event p10 Revolving not Evolving James Mcnicholas on why his Mum is on Facebook p28 A Haunted Man Sticking a selection of fingers up at corporate greed p32 A Tale of two Pissups A rundown of a few things that have happened to us this year p38 Christine Donnier-Valentin A page or two of beautiful photography p44 D&AD HEAT We challenge D&AD to a game of Pool. Pool is the real winner p46 Skype Crits The London Ad agency on its revolutionary interview technique p58

General Doodahs Who are we? An excuse to take pictures of our Rickshaw p6 Moustache Jonny becomes a moustache convert (sort of) p14 A Disclaimer of sorts... p20 Looking to Avoid by David Rudnick p26 If my Eyes Could Speak Rob reveals some London Sightings p30 A Study into the significance of the Names of Gladiators from the International Television Franchise Gladiators A revealing analysis by Jack Hartnell p34 New Blood Roundup What we’re up to in June p52 Dear Charlotte An agony-aunt like no other (she’s mental) p60 Wordsearch It’s a wordsearch. You might win a prize p62 Haikus Some of them are about poo (funny). Another is about Gordon Brown (a bit sad) p63

About ShellsuitZombie

From left to right: Ellie wears: an umbrella, a scowl, shorts. Jonny wears: A real clown suit donated by the daughter of an actual clown. Rob wears: a Star-Wars clone helmet with sound effects and voice modulator. Ross wears: A well 80s beat box. Ricky wears: three wheels (one flat), beads, tin foil, bad welding.

If you like the cover and poster of this mag you should probably pop to Eboy.com to get your hands on some more goodies. Their cityscapes are particularly tasty and clock in at a huge A0 in size.

Our Cover Stars have worked for some of the biggest and most enviable brands under the sun since setting up a little online gallery just over ten years ago. Using the smallest tool in a designer’s toolbox, the unassuming pixel, they have created an empire so unique and recognisable that this German 3-piece rock just keeps on rolling, Indeed, from tiny pixels mighty campaigns can grow. We caught up with co-founder and all round nice guy Steffen for some germanically quick-fire questions. Geek question: so how do you make your pixel masterpieces? We work together, create parts, which we combine with other parts, which we combine with other parts, which we combine with other parts - well, this goes on and on... Does modularity extend to other aspects of your life? Are you a big fan of Lego? Language is modular, biology is modular, our Eierman desks are modular. Guess anything can be. And yes we worship LEGO. Do each of you have your favourite subject matter? Who is the best at people? There are differences, obviously, but who’s best with something does only marginally matter. It is the combined effort that makes the fun. would you rather have a head the size of a pea or a head the size of a space hopper? Space hopper head – for aesthetics. Over the last ten years you guys have gone from strength to strength. What has been the most exciting moment of Eboy’s life? Paul Smith, Kidrobot, A*ari, the iPhone. Do you still love the pixels? Yep! Robots or Aliens? Alien robots.

Interesting fact: When we first started ShellsuitZombie we dreamed of an Eboy cover - however it was to only be a chance meeting between a one of SSZ and a relative of Steffen on Brick Lane that would lead to its fruition.

shellsuitzombie sent a couple of reporters to cover the now infamous glug monthly socialising event in an attempt to find out exactly what makes the organisers tick. what follows comes with our apologies. 20 half-cut questions about glug and life with ian and nick, the founders of glug.

1. What is Glug I: It’s a notworking event N: Basically it’s a night that involves all creative industries and disciplines getting together and having a good time. 2. Who’s in Glug N: Ian’s a partner at Studio Output, I’m a freelance digital consultant. 3. Vinegar or Porridge N: Ooh I’d love to wee porridge. Can I wee it out my bum? Is this going on the web? It’s going on the web. N: I’d love to wee it out of my bum. 4. How did you guys meet N: In a gay Sauna I: My ex girlfriend Youve got to take this seriously N: OK basically we had a mutual friend... 5. Have you heard of Corpse Munging? N: No Do You want to know more? N: Yes (we tell him, you’ll have to google it.) 6. Do you provide entertainment and food or just booze? N: If you get here early enough you can have a little bit of chicken fritters. I: Next question, come on. 7. What’s the worst Glug story you’ve ever heard? I: I tell you what, we do it for the love, and we love the

people who are relaxed. N: I do have a little story but I’ll have to tell you it on email. (Ed.– he didn’t) Hey this is Stretch (introduces his friend who blinks, confused)... back to me. 8. Would you rather have a head the size of a pea or a head the size of a space hopper? N: Well my head looks a bit like John Merricks bollocks anyway to be honest. Rather large, protruding in dodgy directions, but... I’d be quite happy to bounce on my own head. 9. Can Students come to glug? I: We like students, we were all a student at one point. N: The whole point of doing Glug ... Fuck off Rick...no seriously fuck off! (a short scuffle with Rick ensues)... I had a piss poor design education and I’d like to give something back to the creative community. Glug is about getting like minds together. How often do you see people from architecture practices talking to designers? Never! I: And it’s not about clients. It’s about us. N: Some might say it’s a bit lilly liberal but look. Take a look around. It’s about getting all creative industries together, getting them talking and getting them drunk. 10. So if you’re a recovering alcoholic can you come? N: What do you mean recovering? I: ...yeah that’s fine. N: We’re considering a speed dating night... 11. What about if you’re just posing as a creative to get to that sweet sweet nectar that is alcohol. N: We’re thinking of an iphone app I: Yeah, sweet sweet glug...

It’s worth noting the amount of stuff Glug puts into its nights. Speakers have included Noma Bar and Jonathan Barnbrook amongst many others and the barbeques are great if you get there early enough. Check out what Glug have coming up in both London and Brighton at www.glugevents.com

Ian wears: Striped shirt, beer can, sweary hands. Nick wears: round face, V-neck, suprised expression. Just to show off the extensive and generous budget we have afforded for our publication, we splashed out on a photoshoot to enhance this article. It cost ÂŁ4 and (in our opinion) looks like it cost at least twice that much.

Photography on this page by Paul Bence. www.bency.co.uk

Some of the activities Gluggers can participate in - socialising under beautiful skies, sitting in outdoor chairs, going to talks and drawing on walls. There is of course a lot of beer too.

12. In the past Glug has been criticised for being a bit insular and cleaky, but now you’re making it easier to socialise and make new pals. Why bother? I: It’s tough because the bigger you get, the more people get pissed off, but we hope that 90% of people enjoy it and come back. N: We welcome new members to keep it dynamic all the time! I mean have you chatted to the same girl you chatted to the last time? No! See! We’ve won! 13. If you were new to Glug, how would you go about meeting people? N: I think creatives, as much as they may be extroverts, socially they’re fucking absolutely inept. We’re just provoking them to interact, I mean how hard can it fucking be? Pan round (delivered to camera)...ok come back, come by. Look at all the girls! Why not talk to them! 14. Has there ever been a boy born who can swim faster than a shark? I: No there hasn’t. N: I’m not answering silly questions like that. 15. OK, Who has been your favourite Glug speaker so far? N: Adam Jens? Dan Moore? I: Can I tell you who I want to talk? Jason Bruges from Jason Bruges studio. If you’re listening Jason, come and talk to me.

16. Have you ever banned anyone from Glug? N: Yeah! I: No N: I have! I Banned a chap called Paul Insel because he didn’t invite me to another party. So I banned him. Lovely chap but he couldn’t come tonight. 17. Do people use Glug to meet other designer types for some glorious sex once the event has finished? N: There’s a massive underline of just sex! The more drunk you get, the more likely you are to get laid. Thats it. I: What I like most about Glug is that... N:...it’s that you met your wife through Glug didn’t you. YOU HAD A CHILD THROUGH GLUG! I: No I didn’t. It’s that it’s mixed, most design events are a bit of a sausage fest. 18. How tall are you in miles? N: I’m 8 miles wide 19. Next event? N: Vibe bar in Brick lane on the 29th of June, it’s with the D&AD student awards, but we just want to get people drunk... Basically we’re just gonna give those who didn’t win one a bit of inspiration. 20. What’s your poison? I: JD and Coke. N: Sex drugs and Rock and Roll. And with that, they were gone.

We had planned to interview Ian and Nick at about 7pm, before the event really got rolling. However they kept having to go on-stage and shmooze so we didn’t get to interview them until 11, by which time neither us nor them could entirely see straight. Still, it somewhat justified the point of the evening.

MOUST Moustaches. Traditionally the fashion item of choice for seventies pornstars and sociopathic dictators but now seemingly making a resurgence. My uncle had a moustache for many years. It didn’t look good. So why are we suddenly seeing more and more of them? One only has to walk the streets of East London to glimpse a strategically shaved mustax, oft the province of badly bowl-cutted skinnyjeaned youths, the ‘Hoxton heroes’ if you will. At this point, I have to admit, I usually feel an irrational rage usually reserved for the perpetuators of gross injustices, maybe the Gulf Oil leak or Kerry Katonas continuing ability to get on the front page of the red-tops. In fact my initial reason for choosing this subject matter for my article was that very red mist. It seems like the ultimate fashion statement faux pas, it will surely disappear once again in a year or two’s time and then all these try-hards will have to show for it is a whole load of embarrassing photos on facebook and a top lip over-sensitive to UVA rays. Of course some would say it’s like any other trend, say skinny jeans or UGG boots. Those who know me will be aware that I am not the type of man who would be able to wear a pair of skinny jeans, but I get them - on the right frame they look passable, even flattering. I was fully convinced there was nothing flattering about a moustache. This was all before I met Noel. Quite frankly his moustache is something to behold. I covered the world beard and moustache championships for ShellsuitZombie last year (search it on our website) and admittedly he has some way to go before he can make tower bridge out of his

TACHE facial hair, still he remains streets ahead of the local competition. What’s important about Noel though isn’t the tache itself so much as his attitude to it. As an active member of the Handlebar Club, Noel regularly attends meetings with fellow moustachioed men and is keen to stress that though he may not be the youngest member of the club, on a moustache length to age ratio he comes out on top. Despite this intimidating morsel of trivia, Noel would encourage anyone to start a similar growth which may deflect some attention from him. ‘I would just like to be myself, have my moustache and be accepted in the community rather than be ghettoised in a moustache ghetto’. The philosophy Noel lives by is really a questioning of someones reasons for owning their moustache. ‘It’s a shame that it’s become a fashion accessory in a way - I just hope that some people discover the joy of genuine moustache-wearing as a result and stick with it past the time it becomes uncool again, maybe in six months, a year. The mullet was cool for a while, now it’s gone but there are still staunch mullet wearers and they will always be cool. When moustaches become unfashionable again, keep it! Say I don’t give a damn about your fashion, I want a moustache.’ John (pictured overleaf) is another good example. He admits that his deliciously bushy moustache has decimated his sex life, yet he keeps it. These men are true heroes of the moustache community, they should be revered and idolised by bumfluff-lipped teens the world over. Yet inevitably the moustache fad will die. Maybe, if it reveals the gems in the rough, that’s not such a bad thing. jonny burch

John’s choice of Stalin as a moustache icon fails to suprise when one ogles his own facial appendage.

John Tim How long is your moustache? Trimmed to a no.4 once a week. Surrounding stubble trimmed to no.2.

How long is your moustache? 72mm across, 18mm tall and 5mm deep. How old is your moustache? Six months and two weeks. I started growing this one in late Movember.

How old is your moustache? About 2 weeks at any one time. I've worn it for about 2.5 years now.

What influenced your moustache decision? Why did you get it? I’ve got a tattoo of a very life-like penis on my upper lip and my moustache hides it.

What influenced your moustache decision? Why did you get it? I got it because I stopped trimming it as short as the surrounding stubble, and it's only as short as it is as I'm not allowed to grow it any longer.

Whose Moustache do you admire more, Josef Stalin or Adolf Hitler? I want one like Stalin, though Hitler could grow it like nobodies business in the middle, but I’m still going to have to say Stalin.

Whose Moustache do you admire more, Josef Stalin or Adolf Hitler? Stalin. but I wouldn't call it admiration.

If you could give your moustache a special power, what would it be? To grow really long and knit itself into whatever garment I desire. It’d be a tiny sweatshop on my face.

If you could give your moustache a special power, what would it be? Not to curl onto my lip and make it itch. How has having a moustache changed your life? It hasn't.

How has having a moustache changed your life? It lost me a girlfriend and has severely reduced my sex life.

What piece of advice would you give to those planning on growing facial hair as marvellous as your own? Don't trim the bit above your lip as short as the the rest of your face

What piece of advice would you give to those planning on growing facial hair as marvellous as your own? Only grow it where you can get it. If you have a crap moustache, just get a beard. Crap beard, then just the moustache. Crap beard and crap moustache, grow your hair and comb it onto your face.

Can I touch it? Sure.

Can I touch it? Only with your lips.

We don’t have a picture of Tim’s moustache, it’s the least interesting of the three anyway so we hope you don’t mind.

Noel How long is your moustache I just measured it and was somewhat shocked to find it 1 full foot in length (tip to tip) 15cm per side. How old is your moustache? At last count we think it’s around 18 months old. Apparently I’ve been saying it’s a year old for over half a year. How old are you? At my last birthday I was 28 (gosh), that was in april, the 15th to be exact. Sharing a birthday with Leonardo da Vinci and the sinking of the Titanic. Has your moustache ever won any awards? No awards... not yet... but I’ve never taken part in a competition. The next world championships is in Norway, so might go along and see how I do. I wouldn’t expect much as there are some very committed tash growers out there. Noel showing off more than just his tache at a recent ShellsuitZombie event. Magnificent.

Whose Moustache do you admire more, Josef Stalin or Adolf Hitler? Though perhaps less iconic Stalin has by far the better tash. It’s much fuller and more more impressive than Hitler’s itty bitty tooth brush. If you could give your moustache a special power, what would it be? If it could double as divining rods,that would be pretty cool. Or if it had the power to turn invisible, some days it’s a bad hair day and sometimes its really not worth the added attention.

John mourns the loss of his sex life.

How has having a moustache changed your life? Its strange, essentially I’m the same person as I was pretash but as it gets so much attention and questioning you do find yourself almost living up to the demands of the tash. It’s hard to be shy even if I want to be. It’s a challange to be remembered as more than just “the guy with the big tash”

Photography on previous page by Paul Bence. www.bency.co.uk Noel has a band - chekkit: www.myspace.com/yearsandyearsband

What piece of advice would you give to those planning on growing facial hair as marvellous as your own? Never trim! Thats the top tip. Let the middle hairs grow past the annoying point where they get in the way and train them to grow sideways with grooming. You will need these middle hairs to support the the other hairs all the way to the tips. Oh and hair drying really helps keep it under control, just like normal hair I guess. Also visit the Handle Bar Club Forum. Lovely chaps full of more top tips and general moustache-based banter. Can I touch it? No, not without special permission. Happy growing. x

Photography by Christine Donnier-Valentin. For more of her work flip to page 44

Graphic Design Myth No.1 adrian shaughnessy

Writing for designers is like designing shoes for lobsters: designers don’t read. Or so we are told. Yet like a lot of truisms, non-reading designers are a bit of a myth. And I’m sure I once saw a lobster wearing trainers in the fish tank of an expensive restaurant. I don’t know where the myth of the non-reading designer comes from. I have a theory, however: the notion that designers don’t read mainly comes from clients who often (and I mean often) say that designers ‘never read the briefs they are given.’ This is not true either: what is true is that designers rarely give clients what they are expecting. This doesn’t mean that designers are doing bad work: it usually means the opposite. It means that designers are exceeding the brief. Some clients love this and recognise the ability of good designers to push the boundaries of a written brief to create something more than the obvious response. Yet, other clients see it as evidence of designers not following the brief. Hence their assumption that designers haven’t read a word of the brief, therefore, don’t read. Unfortunately, designers themselves are occasionally guilty of promoting the idea of the non-reading graphic designer. Why? Perhaps it has something to do with designers being visual people and being trained to express themselves through images. Yet designers as individuals are often good talkers and able to voice their views and opinions with sharpness and directness. It’s odd too that since language is mostly the raw material that designers work with daily, you’d have thought they would have been more keen to promote the idea of the literate designer. I mentioned at the beginning of this article that the non-reading designer is a myth. It might have been true a few decades ago when designers were signed up to the concept of the designer as the opinionless conveyor of other people’s messages. But today you only have to look at the Icelandic volcano of design books on graphic design to see that something has changed. You can see it in the way the design press has improved the quality of its written content: where once the design mags were full of puffery for the ‘design industry’ and star designers, they now feature lots of well-written articles about the

nature of visual communication. You can also look at the rise in interest in theory and critical writing: it is even possible to take a degree course in critical writing at some of the more enlightened universities. Yet perhaps it’s the rise in blogging that has most profoundly challenged the idea of the non-reading designer. The design blogs are read by many more people than read the design press. They wield enormous influence, and although many of them are no more than online archives of new and old work – visual scrapbooks – they usually carry at least some text. And when you add in the huge number of designers and studios who have their own blogs, we see that the non-reading designer has vanished into the ether. Not only this, but it is now common to find designers who write. It’s the thing I notice most about the many visits I make to design departments in universities around the world – the number of students who want to talk about design writing, not to mention the number who say they want to write about design. This really is a change in the design microclimate. Yet even here, we are not talking about an entirely new phenomenon. Look at many of the giants of design – past and present – and try to identify the qualities that distinguish them from the rest of us. One of the first differences you will notice is the fact that many of them are also fluent writers. I’m thinking of Paul Rand, Milton Glaser, Michael Bierut and Paula Scher – all excellent designers, but also articulate writers. Of course, there are designers who don’t read (there are even designers who don’t read briefs), but if you are a non-reading designer you wont be reading this anyway. So I will assume that I am talking to designers who are readers. In my view, it is possible to be a designer and a reader – and if you want, a writer too. They are not incompatible, as many seem to think. In fact, I cant think of any skill that is more helpful to the modern designer than the ability to use words – either reading them or writing them. There is no part of design that doesn’t use language. So get reading and writing and become a better designer.

Adrian is a designer and author of several design books including the perrennial student tome ‘How to be a Graphic Designer without Losing your Soul’ (If you ain’t got it, get it) . He is now publishing under his new project Unit Editions with partner Tony Brook of Spin.

Disclaimer: A day before print we were told if we added four more pages we would be able to save ÂŁ100. These are two of those pages.

For more FFFFUUUU visit www.ragefu.com, or just google it. In the meantime you can hold this in front of your face if you want.

Its that time of year. Another batch of design graduates start thinking about their next destination. This presupposes a conversation between lecturers and students about what being â&#x20AC;&#x2DC;industry-readyâ&#x20AC;&#x2122; really means.

James: Let’s start with the term ‘industry-ready’ graduates – to my thinking it’s problematic, what does it actually mean? It’s like oven-ready or readymade – what does that look like? Why would you be ‘industry-ready’ after 3 years of degree study, are graduates in law, accountancy or medicine? Liz: And what are you ready for? That paints an even bigger question. I guess if you were to be philosophical about this I’d ask is anybody actually ever ready for the ‘unknown’. Because that’s what it is. After year’s of education, a student then gets told, that’s it, you’re done you know everything you need to know, go earn some money. The only problem with a lot of graduates is they don’t know what their destination is going to be. That’s pretty scary. Vicky: I think you need to be ready in lots of ways. It’s not enough to be a technical wiz or have a great portfolio – as students you are expected to blend in and stand out, have an understanding of the industry, of the personality of individual agencies (and how you might fit in) and have experience before you’ve even graduated. It gives us something to aim for, but it can all seem a little intimidating. Liz: It will always be the ‘whole’ of the person that industry will be interested in. Never just your work, they will be interested in ‘who you are’. Do you have attitude. A thoughtful, questioning approach. Intellectual curiosity to know more and hunger to learn. A Creative Director remarked to me recently: “We do not expect students to

have all the skills they require, but they must have an inner ‘drive’ to want to find out more and improve their abilities. From their point of view, intellectual curiosity may be better than being industry-ready. James: I think this is quite an enlightened attitude, the expectations placed on graduating design students can be very confusing. Nick: Agencies all work in different ways, so there is not a specific way students can be educated to be ‘industry-ready’. Vicky: As a student you’re given so much advice it’s hard to take it all in and understand what’s realistically expected of you in comparison to the industry’s high standards. We are told that we don’t have to be the finished article, but are then shown standards that are sometimes impossible for students to achieve. Sarah: If you do great work but can’t present it or don’t come across well then you are lowering your chances immediately in industry. From a technical point of view I certainly don’t know how to do everything but I think if you have knowledge and confidence to figure it out yourself or get someone to teach you then that’s great. Nick: Absolutely – students are not expected to be geniuses in design but being ‘industry-ready’ means that they have a platform on which to improve. Ed: And you might add that industry-ready means showing willingness and attitude to want to wash the dirty cups and bring in the delivery of 200 books up 2 flights of stairs. Sarah: Visiting lecturers are a great way to make us feel connected to the outside world. I think keeping regular contact with people in industry means you get an insight into the world we want to be in and reminds us that it does exist. Sometimes you can feel very cut off almost as though you are in a safe bubble, which doesn’t help you when you leave. Liz: Self-belief comes out of this engagement?

Sarah: We need to leave confident in our skills and abilities and be aware and prepared for a big challenge. To understand that you need to keep on trying and not give up, take criticism and network with everyone and anyone is one of the most important lessons I’ve learned this year. You can’t do any of the above if you don’t believe you’re good enough to do the job, so confidence building is probably the single most important thing to learn before you leave. Liz: And if you have all of that in the bag are you then ready? James: Yes and no. Adrian Shaughnessy said it brilliantly “They don’t tell you this at design college, but the reason you go to college is to learn how to learn. No design college can do much more than this. But to be taught how to learn is pretty useful, because when you emerge after, perhaps five years of hard study, you go back to the beginning and start all over again.” Liz: That’s my point; I don’t think you ever stop learning. And I think that there is an emotional intelligence that can empower a graduate to feel ready to learn to learn. James: The thing that I find we need to emphasize more in design education is the relationship aspect of being a designer – relationships with the folk you design for (user), the folk that pay (clients) and their problems, and the people you work with (agency). Design is a process that depends on being alert to these relationships; we might even say it is the process of designing these relationships. Being able to think beyond oneself.

Liz: Perhaps you could say that empathy is the approach, the intellectual curiosity that was mentioned earlier, and usefulness is being able to make it all connect up. James: Three years is a short space of time and design is a complex process, we as tutors have got to consider whether trying to give students lots of stuff to assimilate is the way to go? We’ve talked about intellectual curiosity, hunger, empathy and passion – perhaps what we really should be doing is setting the conditions for this to emerge and enabling graduates to articulate these qualities.

Liz: Relationships imply an empathy to understand. To understand briefs, a client’s needs, how an agency works, teamwork. Empathy for all those interactions.

Liz: And then be able to take all these qualities with them. Being a designer takes commitment. Being a successful designer takes commitment on many different levels as we’ve discussed. You may never know if you’re ready or not but then, like life, there is only one way to find out.

James: Empathy is very interesting Liz, I came across something that the AIGA president Ric Grefe said “the pillars of great design: empathy and usefulness.” This adds the doing that is design.

This was an edited conversation between Manchester Metropolitan University and Stockport College students and tutors – Sarah Bush, Vicky Carr, James Corazzo, Nick Entwistle, Ed Johnson and Liz Wheeldon-Wyatt.

Illustration on previous page and this page by UGBOT. www.ugbot.com

REVOLVING NOT EVOLVING (Why my mum is on facebook) james mcnicholas, social medium

The Digital Revolution has come and gone. The Information Age is upon us. Our lives are vastly different. You may feel confused. Fear not: there’s an app for that. In fact, there’s an app for pretty much anything. The digital world is bound inextricably to the real. My mum is on Facebook. Parental prying is the least of your worries. Preposterously-named and scantily-clad women will tempt you in to their online dens of vice. Pleading emails from Nigerian men will exploit the greedy and the idiotic with their promises of unclaimed riches. Facebook’s emoticon-clad corridors mask the sex-offenders lurking round every corner, jabbing at you with a grubbyfingered ‘Poke’. It is easy to uglify a portrait of this newly-digitised world, founded upon the cult of the individual: ferocious selfpublishers gathering Followers, eagerly ReTweeting a camera-phone picture of each other’s breakfast. In the Godless online world, humanist idolatry prevails. Last week I was part of a devising process at the Young Vic which sought to theatrically depict the way we use technology in our lives. Every story told was along the lines of those I’ve alluded to– tales of innocent victims led down a perilous digital rabbit hole. If it is easy to denounce the digital world, it’s perhaps not fair. Stephen Fry compared the internet to a city– there are areas of huge cultural worth, glistening museums containing artefacts that ought to be treasured. Similarly, there are red light districts, criminal factions, and areas you wouldn’t hang around in late at night. And like any swarming metropolis, it’s constructed principally from human interaction. None of it happens without our input. It goes to sleep when we do. The

Google spiders crawl silently across the web, but only because we tell them to. It’s by, about, and for people. In fact, in that light, it’s all desperately familiar. It doesn’t feel much like a Revolution at all. In the first ever episode of Steve Coogan’s I’m Alan Partridge, Alan attends a lunch with Tony Hayers, the fictional Commissioning Editor of BBC Television, in which the following exchange occurs: Alan: I loved that phrase you used, it was very clever -“revolution not evolution”. Tony: No, it was the opposite. “Evolution not revolution”. Alan: Well, whatever. Because that is me. I evolve, but I don’t... revolve. Or vice-versa. It’s funny, granted. But Coogan stumbles upon a semantic cross-wiring. The word Revolution stems from the Latin revolvere - to turn, or roll back. Our modern understanding of ‘revolution’ - as a fundamental change in a known structure - first occurred in the Renaissance - a period whose name has the etymological seed of ‘rebirth’. The Digital Revolution, then, is a Revolution in its truest sense. As the world grows ever bigger, technology is what helps us define it within a manageable infrastructure. The term we attach to it serves to distance us from the cyclical reality. It remains a man-made matrix, a human impression on a digital framework. Interaction exists beyond interfacing, and that’s no bad thing: the synapses of the web crackle with shared moments between real people. It is what we make it - it’s as inherently good or bad as we are. There’s nothing to be afraid of. After all, my mum is on Facebook.

Illustration by Brazil-based Illustrator Andre Lucato. andrelucato.com

Caption

Toksvig: Adept at finding reception on the tube.

pictures and words by rob butcher

TENT PARTAY! YEEEUUURGGGH!

The ‘Handycam’ won on a games machine. It even contained an actual handycam.

IF MY EYES COULD SPEAK

Things I’ve seen with my own eyes since living in London: A man with two inch think glasses. Pat Cash. A next door neighbour who loves to hammer electrical items to pieces in his garden. A woman trapped by her own arse between tube doors. A friend actually win a video camera on a games machine. A bomb scare. Two pirate-style drunk men wet themselves at the same time. Two old men fight for the priority seat on the night bus. A woman with a massive bag of biscuits. A fire engine crash into a bus shelter. Sandy Toksvig. A tramp earning money by playing drums on a wheely bin. An actual topless woman on the underground. Abi Titmuss.

I’ve lived in London for two years now, having moved from a leafy rural town in the midlands to begin the climb up the advertising ladder. The marked difference has always been the people – both in their sheer number and varying levels of mental stability. If I’m honest, I still struggle to understand how every person I meet can have a different looking face. In the two-bed ground floor flat next to mine, live a massive family who spend most of their time on the patio. I count 12* in total; from an incessantly crying infant whose night-time screams actually make me want to punch a baby, right through to Granddad – with a voice made so haggard by his 60-a-day habit that he has to shout at the top of his voice to produce anything close to a human sound. I think it might be illegal, but I bloody love staring out of my window at them. I’m a self-confessed people watcher. Constantly looking out for what people read on the tube, their ticks and habits, their greetings and their farewells. If I’m honest, I think I might just be really nosey. I’ll happily keep my head pointing forwards but strain my eyes to one side to try and read an important looking document some posh bloke’s reading on the Piccadilly line.

deep meaty sniff. It appears like the family are making dinner on the patio. A couple more women have emerged from the house to watch a man pour vodka miniatures carefully into a tub of meat – as he extrudes it through the cracks in his clenched fists. Although my neighbourly observations will probably be filed away in the ‘Misc’ section. I draw on my catalogue of observations every single day at work. Last week I used them to try and get people to shave with a new razor. Open eyes are the main weapon in our create arsenal, with often the smallest insight into people’s behaviour, unlocking a huge idea. As visual people, it’s important not to limit ourselves to tumblr, SSZ or whatever your favourite source of inspiration may be. Producing original work means soaking up original content and for me, people provide that in ladles. Our creative future must depend not on what other agencies, classmates or studios produce, but on what we believe our audience will see and react to – not just because it’s cool and different, but because it speaks to them, benefits them and empathises with the situation they find themselves in. *Make that 13, a dog’s just walked out onto the patio.

In fact, as I write this I can see Grandma from next door pick up an empty can of luncheon meat to take a

Look out.

A HAUNTED

Recognising that modern culture is drowning in the brand-obsessed, celebrity worshipping, transparent world, A Haunted Man is fighting the high street propaganda with his subversive and stark twisting of instantly recognisable brands. He welcomes you with a cheeky grin at www.ahauntedman.com

MAN

A Study into the Significance of the Names of Gladiators from the International Television Franchise ‘Gladiators’ - Jack Hartnell

UK Version Classic Gladiator Name Distribution by Type (fig. 1) Even the most cursory look at the names of the ‘Classic’ (1993-1999) gladiators from the UK version of the show reveals some interesting trends. Across both sexes several categories of type emerge (see Fig. 2). The genres that we perhaps expect to be associated with the gladiator’s famed Greco-Roman origins are instantly identifiable: a strong mythological influence drawn largely from the zodiac or Olympian pantheon (Phoenix, Vulcan, Atlas, Scorpio), alongside characters drawn from related or pseudo-related historical periods (Spartan, Trojan, Saracen). Yet interestingly, we also find two other heavily populated categories: the Animal (Fox, Panther, Cobra, Hawk), and the Industrial (Jet, Laser, Siren, Diesel). Why these? Within the animal category there appears to be no further subdivision. Mammals, reptiles, and birds are all represented (the absence in the first 8 series of any waterbased activities perhaps accounting for the neglect of both fish and amphibians). And within this diversity we see a further range from the exotic (panther, cobra) to the common and native (fox, hawk). It is clearly, then, not the type of animal that is important here, rather their generic habits. The simultaneous predatory and solitary nature of all animals chosen, perhaps point us to their naturally associated and favourable imagery of hunter/aggressor. The industrialisation of gladiator names is harder to account for. Their spread is vast, from aural (Siren), to visual (Laser), to olfactory (Diesel), to the more purely mechanical (Jet, Rocket). There are, however, perhaps links here with Britain’s failing manufacturing culture in the mid-1990s, the hard craft of man and machine increasingly endangered by the presence of a more nebulous, digital and online world.

any social commentators find themselves repeatedly returning to the television series Gladiators throughout their careers as a cultural touchstone and indicator of social phenomena. This is with good reason. From its inception in 1989 the battle spectacular has proved itself culturally poignant, morphing from its American origins to fit British, Australian, South African, Swedish, Danish, Finnish, German, Russian, Arabic, and Nigerian social models (see Fig. 1).

The efficacy of the programme is clear from its vast distribution and near-universal popularity. As Daz Crawford (aka Diesel, UK Gladiatiors) famously commented, “I’ve never yet met someone who doesn’t really like what I do a lot.” Yet for all this clear, quantitative evidence, commentators constantly return to one question: Why? Answers have been sought in a number of places: the sharp year-by-year increase in prize money, gladiator competition at an international level, presenter scandal. And yet surprisingly, the subject of gladiators’ names has been relatively poorly investigated.

International Gladiator Names and their Distribution by Type (fig. 2) It is interesting at this stage to note other categories embraced abroad that are lacking amongst the UK gladiators. Objects, for example, abound among Australian and Swedish versions (Blade, Hammer, Razor, Battleaxe), a phenomenon perhaps linked to both countries obsessions with the material culture of Home Improvement. Motor-based names appear popular in both America and Russia (Tank #1, Tank#2, Bulldozer, Astra), a disproportional amount of vehicular metaphors perhaps mutually spurred on by a Cold War competitive hang-up.

Interestingly, the only Foodstuff present in any part of the franchise is the Nigerian competitor Hotdog. Reasons for this are as yet unclear. Nationally related trends are also noticeable. Almost all countries embrace variations on local traditions or names: Wildebeest (South Africa), Valkyria (Sweden), Outlaw (Australia), Vääpeli (Finland), Explosion (Arab). Furthermore, we note an interesting preponderance of Mythological names in Denmark (10 of 15), of Animal/ Organic names in South Africa (16 of 28) and Industrial names in Finland (7 of 14).

UK Version ‘Classic’ (1993-1999) Gladiator Name Distribution by Sex (fig. 3) One final remark from our statistical analysis with which we may conclude. It is when the ‘Classic’ (19931999) UK gladiators are divided by sex that perhaps the most interesting pattern begins to emerge. There is a clear division between the sexes in terms of name concentration, with the female gladiators tending towards Organic/Mineral and Elemental/Geographical, and their male counterparts towards Professional or Historical. This sexual/etymological relationship is doubtless underpinned by a variety of social conditions inherent to Britain in the mid to late 1990s (“Girl Power”, Drug Culture, New Labour) but it also raises the alarming (if unsurprising) misogyny inherent within UK gladiators. The respective statuses in the public eye of the popular premier League footballer John Fashanu and objectivised ex-TV-AM weathergirl Ulrika Jonnson, serve only to further underscore such accusations – accusations that have elsewhere also strayed in the realm of race.

RIP*

*Not actually dead

Illustrations for this article by New Future Graphic - www.newfuturegraphic.co.uk

A TALE OF TW

A couple of the events that ShellsuitZombie has run this year...

WO PISSU PS ...and why we canâ&#x20AC;&#x2122;t really remember either of them

Right, before you all gasp in horror, first things first. Of course we remember what happened on these nights, otherwise this would be a rather short article. Having said that, both were held at night in drinking establishments, so what could we do eh? Our hands were tied.

VS/WILLY-DRAWING In the middle of February we held an event at The Old Blue Last called ‘VS’ involving fifty members of the practising design fraternity alongside fifty students and recent graduates. The concept of the night (beer aside) was that of micro-challenges. We laid on some entertainment in the form of two brilliant bands and a DJ (who dropped rather a lot of ‘Scooter’… each to their own) but the focus was on the participants, all of whom were encouraged to challenge each other to absolutely anything they wanted to. What followed would be a mishmash of thumb-wars, dance-offs, willy-drawing competitions and one attempt to try and fit the word ‘zeitgeist’ into as many sentences as possible, all of which (along with foresaid grain-based alcohol) got all concerned babbling away at each other, our cunning plan throughout. We grudgingly handed out prizes from a couple of the agencies involved (everyone loves a design goody) for various acts of valour and everyone rolled home full of beer and (we like to think) several friends richer.

RADIO REBELDE - A STOCKPORT REVOLUTION We were asked to do a workshop with Stockport College in March, but as jobbing designers and creatives a daytime session was somewhat out of the question. However, we were more than happy to get forty students in a pub basement in Kings Cross and have a bit of a laugh (by the way the Cross Kings is a must, great boozer). The loose structure of the night meant that we didn’t finish until half 11, by which time most people’s eyes weren’t going in the same directions, but we managed to fit in an initial chat/ramble by us, a complex challenge involving celebrities and their endorsements, and a final Q&A. We also gave everyone a dead nice screen-printed poster (available at all good ShellSuitZombie online shops) and managed to fill our ‘book of awesome’ with some strange scribblings.

It was great to chat to a bunch of students about real concerns with the transition from education to industry, something which, however many blogs and graduate supplements you read, is different for everyone and a pretty intense period of change.

THE FUTURE We have been asked to take VS up to Liverpool, something we’re really excited about as an antidote to a London-centric industry, and we hope to hold some more workshops too so if you are a student or tutor looking for an extra something to add to a London trip, do get in touch. There’s been mention of a tour (to be honest I’d just be excited about a road-trip) so the remainder of 2010 should be pretty busy.

Clockwise from top left: Chris with the Thoughtful 6. Chris erecting tables everyone in a placement has had this job at some point. [Ed. - mine was a set of shelves] and the final product.

The Thoughful 6 with members of the agency. Very Gothic.

THE PLAC£MENT GAME chris shearston

As a third year design student I know very soon I will be doing placements and looking for a job. Learning through placements is a great way to move into the studio culture - but how do you do do this if the placement is unpaid? At what point should I be getting paid? Is it worth it?

Having posed these questions to people from different areas in design, one thing is clear - placements are worthwhile.

at the system we must consider this:

“In my opinion placements are incredibly important for students, you learn as much on one good placement as you do in a year at uni.” - Jonny Burch, Collective London.

When a design studio takes on a student they must work to integrate that new person, help them and develop their skills, essentially to teach them. These things are why placements are great for students, but for the designers it can be another thing on a long list of jobs.

“I would say gain experience at any cost, if you get paid a minimum wage to do it that’s an enormous bonus, if you don’t consider the value you get from adding the experience to your CV and future job hunt.” - Mike Carter, Orchard Creative Recruitment.

“If I am paying for a placement, I can raise my expectations of your delivery to a point that means I treat you as an equal, and expect a professional and committed response from you during your time in the agency.” - Patrick Baglee, Navyblue.

“From the companies point of view often placements are an investment in the designers of tomorrow offered by company owners who remember how it feels to be a graduate. As such they are not revenue making opportunities to the company, they very, very, rarely generate income from a short student placement.” Mike Carter, Orchard Creative Recruitment.

The more experienced you become, the more vital you are to the studio and the more likely you are to be paid but the experience gained is the key reason to do placements.

Different studios will teach you different things, but no matter what, you will at least see how other designers work. For me the experience was invaluable - learning how to work within a team, respond to clients’ deadlines and budgets, produce work that incorporates an idea which is viable and within budget - to ride the highs and lows of studio life. However, to get a complete look

“If I was doing placements again, I’d just do my absolute best in the time I’m there and not expect payment, but if it came my way at the end, it would be because I got my head down and earned it.” - David Sedgwick, 999 Design. Working for free will never be easy, but so long as it teaches you new things and moves you closer to a job then it is something i’m happy to do. Now I need to explain this to my parents..

Chris, as a member of ‘Thoughtful 6’ last year, has been working in Stockport-based agency Thoughtful who were, erm, thoughtful enough to move into the college campus for a year. He has since graduated.

Christine Donnier-Valentin

We first met Christine at New Blood last year where she was shooting the entire show including some of our antics. Since then she has provided work for our website and dazzled us with her hugely varied portfolio, from old unloved sofas to intimate still life and beautiful reportage. Check out her work at www.cdvphotography.com

by jonny burch

One sunny day in late may, ShellsuitZombie decided to host a contest of skill, judgement and endurance, a test of willpower over the physical limits of the human body. It was to be ... well it was to be a game of pool. In order to play this game we needed contestants, so we enlisted the help of two of D&AD’s finest athletes, Sanky (real name Simon Sankaryya, founder of Allofus and D&AD VP, soon to be pres.) and Laura (Woodroffe, director of education and professional development). The rules were simple – pot a ball to win a question. One could argue (as both contestants did repeatedly) that having to be asked a question wasn’t a good prize. We agreed but didn’t really care. So, without further ado, we let the game begin.

Game begins. Laura breaks, badly. Sanky immediately pounces on the opportunity with a yellow in the back left pocket. 1. Sanky, how was your weekend? S: I went to a very good friends wedding in Somerset and drank cider. I sang some hymns which I haven’t done since I was 15, which was a bit weird, and just enjoyed dancing in the British summer. It was nice! Unfortunately Sanky fails to capitalise on this and misses his next shot, leaving the table open to Laura, who misses. Sanky pots again. 2. OK Sanky, where do you go in London to get away or for some inspiration S: I cycle actually. A lot of the people I know in the design world feed off pure observation and I think that’s very important. It’s a very good way of switching off. Immediately following this question Laura slams her first red into the back right pocket, winning her first. 1. Laura, people probably don’t know you quite as well as Sanky, but what does Head of Education and Professional Development mean? L: It means I’m always right and know everything (Sanky giggles)...no, I run D&ADs education and professional development program, which means we do stuff for students, graduates and professionals, providing educational support for all of them. Laura, you’ll be pleased to know your first question is a pass! L: Thanks! Do I look at the camera or at you? [At this point ShellsuitZombie’s intrepid reporter is pointing his camera straight at her face from point blank range]

What would you rather? S: D&AD’s thing is to never look at camera, it’s really hard to talk to you and look at camera.. OK well try to look at me even when I’m not looking at you Cue some confusion, during which Laura misses another shot. After a few more misses all-round, Sanky finally pots his third. 3. Sanky, You’ve been arrested seven times for illegal acts of graffiti... [cue exclamation from both parties] Are you ever tempted to pick up the cans or pens again, legally or otherwise? S: I have done some legal graffiti in my time, I think to a certain extent it loses the essence of what graffiti is about. Yeah once in a while I’ve been tempted to buy some paint, but never got so far as to actually do it. I have a spare bedroom in my house that I’m converting into a studio. That stuff you showed in your President’s lecture is wicked! S: My route into design was through graffiti, basic things about colour, form, working in a team with the dependency on your crew, and putting stuff in the public domain and people’s reactions to it. I like the spirit of competition as well, not being a monetary thing but just for respect of your peers. Also a respect for typography, how you can express yourself through words. That led me to start a studio. (pause) But I’m currently not practicing graffiti, legal or otherwise! I used to dabble as well but I never grew the balls. S: It never felt that naughty when we were 12,13 to be honest, not like a horrific crime. But then when you get arrested you realise how serious it is! That’s probably

why I don’t run around with spray cans now, it probably wouldn’t be good for my career. One guy I knew who did a lot of stuff up in Sheffield was in prison for 8 years. L: Really?!

It was to be a short-lived run of form. Sanky gets another.

S: Yeah, it’s really seen as a public nuisance.

S: ...Everything’s filmed nowadays, you can’t say anything!..

L: You get less time for armed robbery! S: Yeah, you’ve got to take these things into account. A pause for reflection by all, before Sanky then lets laura back into the game which she utilises with a rocket (for rocket, see slice) securing her next question. 2. Laura, New Blood has changed a lot since last year, why so? L: Well new blood has been going for about 16 years (the first six as ‘Student Expo’) and has always been successful. Loads of students get to showcase their work to industry and get jobs and placements, but we felt something was a bit missing. At the end of the day, when it comes to getting a job you can be the best designer or ad creative in the world but if you can’t market yourself you’ll fall down, even more so in a year like this which has been difficult for industry and grads. We thought networking skills would be very important, so we decided to make this year more about that. We still have the New Blood Exhibition but we’ve created a festival around it held at working offices around Brick Lane where students can get their first taste of going out around a city, wherever it is and meeting people who might give them a job one day, making connections and networking with peers to give them the best chance. Wow, best answer yet! Seemingly spurred on by this praise, Laura raises her game, notching up another pocket.

4. Sanky, you mention now respecting tutors you once didn’t like at uni...

...so do you think tutors are given an impossible task, do you think they are in danger of becoming irrelevent when they stop practicing themselves or do you think they should be given more credit than they get? S: Undoubtedly they have a difficult job. I’ve recently started teaching and giving some briefs and something that students might not realise is that tutors can only work with the students and resources they get. Nowadays everyone has their own computer but when I started a mac was like 10 grand or something and it felt like my tutors were dragging their heels technologically when actually they could only work with the tools they were given. The best work comes from great ideas and a bit of passion and blagging, the kid who is set up with the best tools and resources in the world may not bother to think as much so they can’t go blaming their tutors. L: I’ve got something to add. I think the thing that not a lot of people in industry understand about what a tutor does is the influence of the outer body, in this case the government. Tutors don’t have control over how many students they have, how much time they have with them and even the space they have for them because of these factors – if those in industry were subject to that level of control they would find it hard too. Anyway there’s some amazing stuff going on out there run by all sorts of different people, some of whom we’ve covered online like the Thoughtful 6 project at Stockport. I think tutors get a hard rap and there’s a lot of stuff that goes on that people don’t see. Loo break for all, after which Sanky nails another ball.

3. What kind of stuff does D&AD have in line for students and grads in the next year? Cue lots of fannying around when the barmaid turned up the music and we couldn’t hear anything. We soon sorted her out [Sanky did it, he’s been arrested etc.] L: Some of the changes we’ve made around New Blood are quite indicitive of the sort of thing we’ll be doing, so a lot of it is about loosening up a bit. There’s always a bit of a weird moment at the beginning when the industry come in and the students and tutors are like [does a corpse pose] - we just want to lighten it up. We’re also relaunching our website which is going to be AMAZING [muffled YEAH from Sanky] and I will be wearing ceremonial clothes to press the button... but joking aside it will give us a more one-to-one relationship with people out there interested in D&AD.

5. Is there anything you’ve learnt now that would have affected the decisions you made when you first graduated? S: To be honest, I have the worst answer to that because I’ve never, to a certain degree, had a job. With Digit where I worked first, it was only a month old and was based in a kitchen. I was given a camera and told to take some pictures with it, and that’s the closest to an interview I’ve ever been. I didn’t even have to make a CV until I applied for the D&AD exec, so that’s useless. The advice I would give though is if you go for a job interview do some research. Find out who works there, what they do. It sounds basic but we get people who can’t spell our names and ask for print jobs when we do digital. Also have a question yourself at an interview, it shows passion and sticks you in your interviewer’s brain. Even if they don’t ask if you have any questions, ask one anyway.

While we weren’t watching Laura has clearly moved a ball because after Sanky misses she nonchalantly taps in a sitter. 4. Laura, do you get more excited about student or industry awards? L: Student awards! [Sanky laughs] I get excited about the industry ones because I don’t work on them so I get to have a good time, but the student awards are so exciting because those people are probably winning their first award, they may be in a room with their design heroes and have never been awarded in that way, from far flung corners of the UK. The whole thing is massively exciting. S: It’s just as hard to win a student pencil as an industry one. The same level of rigor goes into both awards, the year I judged the student awards, you could have stuck some of that work in the industry awards and you wouldn’t be able to tell the difference. After laura pots the white and a dispute over the rules regarding hitting the ball backwards, Sanky uses his two shots wisely, teeing up and knocking in his sixth colour. 6. Sanky, have you got any jobs going? We always have jobs going! We’re never not hiring, you just have to hit it at the right time. We’ve hired two graduates this year, one guy that got a silver at the student awards and his mate. The end comes quickly. Sanky shows the black ball no respect, seeing it off while Laura looks on. A valiant loser, she shakes Sanky’s hand before he faces his final question. OK, black ball. Sanky, people talk about london as the epicentre of the creative industry but 90 percent of people at New Blood will be heading off around the country and looking there. Is there a hope outside london? Yeah definitely, even 5 years ago it was quite disparate but now it’s so easy to network online and clients are much happier to do that that there are great studios everywhere. Theoretically you can work from anywhere, it’s more about getting a good network of people together. Laura? God yeah, more now so than ever before. There are all sorts of regional organisations popping up which have huge reach and hold loads of networking events all over the UK. There’s never been a better time to build a career anywhere you want. Thanks guys, congrats Sanky, there’s no prize for the winner unfortunately but I will buy you a pint. Sanky actually then buys this reporter a pint. Beer > Guilt.

The more observant of our readers may have noticed that there are 7 balls of each colour in a game of pool and Sanky only potted six. Well, it turned out afterwards that he had potted two at one point and had only recieved one question. For that, dear readers, we can only apologise.

Illustration by Ellie Smith. www.ellie-draws.co.uk

Gâteau Fabulous! (Or how I learned to make friends and influence people) victoria talbot

It all began on a cold winter’s night. Suffering from creative block and needing a consolatory sweet fix, a friend and I searched high and low for sugary treats, but found none. Out of hours, and faced with an eight-hour wait until our next sugar high, we muddled through a muffin recipe and took matters into our own hands. Amazingly, there were enough leftovers to bring to the next day’s tutorial, and a final degree project was born.

passing around the cake tin was a great way of meeting people and making friends. And while I can’t say it was always well-judged (the time I presented Snickers muffins to a studio with two nut allergy sufferers comes to mind) it did get me remembered.

Some thought I was mad. To my diet-conscious home’s despair, my brief was to create a ‘zine devoted to baking’. And so an obsession began – revelling in the sweet stuff from Mississippi mud pie to muffins, treacle tart to other tasty treats... and once written up, photographed and thoroughly taste-tested, uni became the obvious place to offload my sugary surfeit.

All well and good I suppose, but what if the kitchen’s the last place you’ll ever be found? Well, I can only speak from my own perspective on studio life so far, but I’d like to say it was less about my hobby than the conversations it started. I hate to say it, (surely no-one goes into an internship or first job actively wanting to make the tea) but offering to make a round or two isn’t only a nice gesture – the simple act of asking someone how they take their cuppa is one of the easiest and least obtrusive workplace conversation-starters I know.

But while a cupcake alone doesn’t make a party, they somehow slightly eased the feeling of impending doom beginning to take hold in our final term – after all, it’s difficult to feel too serious while demolishing something slathered in pink icing and sprinkles. Sugar highs aside, they gave us a brief time out – pausing to pick off crumbs and to wipe icing from our chins, we were able to temporarily forget our creative crises, and instead let the conversation flow. Creative block can be like that – sometimes you just need to take five minutes from banging your head against that brick wall to bounce ideas among friends.

But like the poshest of gâteau, there’s layers to my baking habit – it’s also a creative outlet in itself. True, my icing style isn’t going to be taking the village féte first prize any time soon – but the odd baking session gets me away from the computer at the end of an intense day and allows me to take my creative leanings somewhere tangible. And while it may not be quite as informative to my working practice as some of my other hobbies (aside from a star turn involving turning out 192 cupcakes in one night for a work party) the original motivation of taking the odd moment away from the main event for a bit of perspective still holds true.

Even when tutorials had been and gone, there was no going back. Cake found its way in tins and tupperwares wherever I worked: aside from being a nice goodbye-gift,

But while this story may have tied up in a circular fashion, here’s hoping I’ll continue to find enough willing recipients to make sure I don’t wind up that shape, too...

Victoria Talbot is a London-based graphic designer, whose chief creative passions are typography, poster design and baking. She works with The Church of London, where she enjoys all three. www.victoriatalbot.com

Sorry New Blood, ShellsuitZombie has arrived. Weâ&#x20AC;&#x2122;re going to muck about and annoy the hell out of you. Now be a good educational organisation and get us the tannoy. ShellsuitZombie @ New Blood 2010 All day, every day. Itâ&#x20AC;&#x2122;s gonna be a party. www.shellsuitzombie.co.uk

Kthxbye

NB: Michael Wolff is feeling much more relaxed now he has a new friend. Seriously though, that is a badass hat

O hai I likez ur HAT!

OMG! It was like totally amazing when ….............................................. created that awesome..........................! Then ….......................... challenged …............................. to a creative face-off live on the stand – …....................................... only went and bloody won didn’t they! Oh, and then there was the time that …........................... crammed a whole................................into their …....................................................... right before my very eyes! But the best thing was when …...................................... made/drew/got/stuck/grabbed/spoke to/ …............................................................... ...that was so totally LOL.The End. Caption

SSZ + New Blood 2010 rob butcher tells it like it is. So, we’re totally writing this before the event. Making this a largely impossible article to craft. However, we do have some amazing stuff in-store at this year’s New Blood. Our commanding presence follows on from the SSZ success at New Blood 2009 which saw a raft of creative goings-on, including face-offs between courses and live briefs from agencies right there on our stand. This year, we’re going bigger and better with a schedule designed to engage creative graduates and professionals with stretching and thought-provoking content. Our advertising sponsor Brave will stage three sessions over the event, offering an insight into agency life with Meet the Boss, Meet the Client and Meet the Creatives sessions each designed to both broaden understanding and offer real opportunities to get work under the noses of people looking to hire. We’re also excited to the point of insanity at the Sunday night launch of the very magazine you are holding. Our first publication crammed with work, opinions and advice on life after graduation as well as a healthy dose of content entirely unlike anything you have ever seen – in a good way. Another headline act gracing our stand this year are our well good mates from Future Shorts, who will be screening a selection of out-of-hand short films for you to feature your hungry eyes on. But the filmage doesn’t stop there. Thanks to our wizard mates at Morph London, we’re proud to present the UK’s premiere educational screening of Doug Pray’s Art & Copy – the film that took the advertising community by storm. And as if things couldn’t get any better, Morph have one of those shiny new iPad things to give away at the screening! All you have to do is create a sweet ident for them to be in the mix to win the coolest thing we’ve ever seen. SEMI-ON!!!! There’s loads more going on throughout the event at the ShellsuitZombie stand, often the best bits are totally made up by us 2 minutes before the event begins so we’ve written a short paragraph (look left) with a few spaces for you to fill in and ROFL to yourself at the great things we all did that summer at New Blood.

No no, this isn’t about anything iRelated, no iPads or iPhones here. It was just a clever play on the word ‘idea’ and ‘deal’. That’s what Graphic Design is all about, right? THE BIG IDEA! If you can’t communicate an idea, then you clearly aren’t a good designer. Your design must have substance, as well as style. Well, for the most part, I disagree. I believe ‘the big idea’ is a just a trend itself. The very thing we are taught to go against at school, those damn trends. They’ll only be out of fashion by next year. It’ll be forgotten once triangles come back in. But that’s the point. Design has become so self-centred that it no longer needs the big idea (really). The graphic design world has it’s own community, so much so that books aimed at designers can fly off the shelves without the need to explain WHY they put a grey circle on that sexy vertical folding sleeve. It just looks good. The client is ourselves, so why not give in to trends? When Adrian Shaughnessy asked “What do you say to someone who says that there’s no point in learning the craft of design anymore?” In the blue bible (HTBAGDWLYS), Rudy VanderLans responded with: “I’d say they should consider a career in advertising”. The introduction for the need of a big idea must have only started once advertising poked it’s nose into our business and said that they needed someone to make their great idea look good. Which IS great, don’t get me wrong. A beautiful execution of a fantastic idea pleases me greatly, I just don’t think it’s essential. What’s the idea behind the new Creative Review logo, or the Grafik Cache one? If EVERYTHING has to have a reason, what is the reason for those? I can’t think. Oh yeah, they just look good! As aspiring designers we should be taught how to set a paragraph correctly, why a grid is so important and how to choose a great stock. It seems that a lot of this is bypassed and a lot of students don’t have a clue how to polish a piece of work into something desirable. The general public are like magpies, they’ll buy into anything that looks pretty. That’s what works for some of the biggest brands in the world, like Nike, or Coca-Cola. Sure, they have a reputation and a following so large that they can afford to design for design’s sake, but then some of the graphic designers that are held in high regard are just borderline fine artists.

WHAT’S THE BIG iDEAL?

As I mentioned, a fantastic idea is, well, fantastic, and half of the basis of modern design. It works both ways though sometimes that fantastic idea can be missed because the individual has no craft skills (As well as disguising a bad idea with great craft skills). I suppose all I’m saying is as students we should be taught what looks good and what doesn’t, as well as that ideas are God. After all, if an individual can’t think of mind–blowing ideas naturally, then the craft skill should be honed so they can tackle the industry from that angle.

Vital Statistics: Name: Andy ‘Bringer of Wrath and Impending Doom’ Cooke Year of Graduation: 2010, Profession: Design, Current place of employment: Erasmus, Shoreditch.

DON’T JUST POLISH A TURD

I have to say that while Andy makes some good points, I disagree. Back in the day (I graduated two years ago), I felt exactly the same. It seemed that if you could dress up your work enough and photograph it from an angle on some grey card, the world was your oyster. To a degree that’s still true, in fact I was recently told that your ‘design skills’ make up 70% of your employability, definitely at graduate level. If someone can’t set type or doesn’t have a good eye, it will take that much longer to train them into someone who can and does, and making the most of those skills is imperative to having a well-glossed industry-friendly portfolio, any less and you won’t even get through the door. Unfortunately the importance placed on this skews the priorities of what is required to make a really good creative. When I graduated I was a classic case – in fact I got so carried away with the craft of my ‘final major project’ (letterpress dahhling) that I couldn’t see the wood for the trees. I ended up with some very pretty print work with plenty of consideration for type style and perfect printing but with literally no idea behind it. I’m sure many others do the same. I was so surprised and disappointed with my eventual mark (which I of course at the time blamed on favouritism of tutors, sorry Simon!) but a month later when the red mist had died down it had definitely hammered home the importance of a good idea. A dangerous contributor to this effect over the last few years has been user-curated work aggregators (ffffound, dropular etc). It is very easy to, in five minutes, browse through the most popular content and cherry pick some ideas based on what is already out there. In this sense what Andy touches on about triangles is true, if creatives did that then every ad and piece of design for the last year or two would have been helvetica 76 overlaid on a picture of a galaxy. But it’s not. So they must be thinking for themselves. Treat everything you see on those resources with a big handful of salt and don’t consider ‘trending’ the be-all and end-all. My degree course was ideas-led, something which frustrated me at the time (storyboard, scamp, storyboard, scamp) but a creative way of thinking is much more difficult to teach in industry than core design skills are. There’s no way any degree course can teach someone everything they will need to know about the myriad of programs they will be using but they can teach you how to think. That’s why in my opinion it doesn’t matter so much if your design skills aren’t right up there, yeah you should make sure your work is shown-off as well as it can be, but more than that make sure you get across a sense of excitement to learn and keep being creative wherever you end up rather than churning out post-rationalised carbon copies of existing ideas concealed behind a thick layer of swiss typography. It blows.

Vital Statistics: Name: Jonny ‘Flames of Desire’ Burch Year of Graduation: 2008, Profession: Design, Current place of employment: Collective, Farringdon.

Creative Obsessions jake jennings, jess walker and mario picariello of the designers society, plymouth

In a tough and competitive industry it is important to submerge yourself within your chosen discipline. Creativity often becomes an obsession and subconsciously ingrained in our actions, choices and behaviour. The list below shares a few examples of our creative obsessions.

10. Creative designers at the University of Plymouth have founded their own â&#x20AC;&#x2DC;Designers Societyâ&#x20AC;&#x2122; in an effort to share their passions with others and the industry. It was set up by students for students and has just come to the end of its first year having won two awards for its successes. The main aim is to reduce the

1. Hoard beautiful things Do you keep everything you come across that is aesthetically pleasing? From bookmarks to packs of cards, we have found this to be a common trait within the creative profession.

2. Grid your fridge As creatives we strive for perfection in our work and this often translates into other areas of our lives, for example, creating structured order within everyday objects. 3. Apple+Z your life Have you ever spent so much time designing on your mac that the boundaries blur between the virtual world and reality? Have you ever thought you could Apple+Z the mistakes you make in the real world? If only it actually worked... 4. The accidental concept Ideas can materialise at any time. Sometimes taking a break and undertaking a different activity can give you inspiration, other environments can stimulate your imagination. 5. Pick ‘n’ mix disciplines It is important to be able to appreciate other creative outputs. For example, it may be beneficial for a designer to look at the work of fine artists or even musicians, as it could have an influence on their own practice. Good concepts regularly come from making links between previously unrelated subjects.

6. Outside the 9-5 It is the point at which you love something so much when it becomes a part of you and becomes a true obsession. This loyalty is often as simple as bumper stickers on a car or wearing a particular design on a t-shirt or can be as extreme as, for example, having an ‘Apple’ logo shaved into your hair. 7. Guilty pleasures Have you ever been so deep into your work or close to a deadline that simple pleasures such as eating or sleeping are moved to the bottom of the list? 8. Designer sustenance We have all heard of design breaking boundaries but how much does creativity compel and direct your day to day life? Is there ever a break from idea generation? 9. Embrace the rainbow Colour plays a vital role in the work we undertake. It is important that we understand the value of each colour and how they can be used to communicate different moods.

gap between university life and the design community. They have run a series of lectures and portfolio reviews from professionals including Patrick Baglee, Harry Pearce and Si Scott. Other activities include competitions and exhibitions to publicise the work of participating members and creating networking opportunities. www.designers-society.co.uk

The interview is so 2009. We’ve had our eyes peeled for talented junior creatives over the last few months at Brave. But there’s a catch, we’ve not just been looking for people to come in and show us their book, we’re a new kind of creative agency, with a new kind of book crit. We’ve whipped out our webcams and taken the humble book crit onto something the kids are calling ‘the inter-net’. The response has been huge, and we’ve been wowed by weird and wonderful ways people are using Skype to present their work.

We’re judging not only what people present, but also the originality of the presentation itself. We’ve seen props, extras, scripts and puppets – all used expertly in the hands of the finest creative talent in the land. Skype Crits is an on going project at Brave, and part of our continued search for the freshest creatives out there. If you’re interested, email your CV to skype_crits@brave.co.uk and we’ll get back to you. Go on, be Brave

Top right: Adam and Dan. Top left: Gav and Julia Bottom left: Brave’s Caz, Rob and Ed Bottom Right: Adam and Dan have the X Factor

Caption

Dear Charlotte... Hello Sisters! My name is Charlotte. I have recently undergone a change, that’s right, a change which involved travelling to Asia in search of some rare Oodabolli capsules, the elixir to enhancing ones feminine mystique. Let’s just say this babe found hers. For those of you who don’t know I’m 6ft9, slim, fantastic eyes and dazzling teeth. I’ve included a photograph if any of the guys out there are interested in something unique. But that’s not why I’m here. There are people out there who need my help, and I’m not talking about Kerry Katona shit, I’m talking

Hi Charlotte, How do I know what to put in my portfolio when I go for an interview? Thanks, Sam Hello my innocent, naive little puddun, So what you should do is tailor your portfolio for every interview. Whether it’s for a full-time job or placement, make sure you can adapt your book to cater to that particular agency’s vibe. Think of it as a game of cards, a babe needs to play her best hand to win. But that’s not all, this absolute MILF has learnt some other tricks along the way. If you get the feeling the interview’s going badly, gently lean forward and start sucking your finger, this has worked successfully for me in six out of six interviews* (you know who you are… gotta luv ya! X)

about people with real problems, like which girl to date, or which boy to give your virginity, how to suck to completion within 1.87 seconds, advice on unfacilitated orgasm, or even how to get a creative placement (yes, one of my past professions was a creative in advertising). This is why I have started my column, think of me as the Carrie Bradshaw of the underworld, here to support you through your troublesome lives as you embark on your own creative journey of life. I thought I’d kick off with 2 letters I received last week so that you sexies could get an idea of what this columns all about…

Hello Musty! There are two questions that this sister has for a babe like you Musty. Is your chrysalis ‘conker brown’? or is it more of a ‘debauched ginger’? Dependent on which will entirely affect your outcome sugar plum. If its conker brown, I would expect that within 8 days you will have formed some glorious wings that have the pattern of a high-end 80’s sleeping bag, with the weight, flow and grace of one of Kylie Minogue’s farts… absolutely divine. If your chrysalis is a ‘debauched ginger’ then I can only recommend that you take action babe, and fast. The result of staying within a filthy ginger chrysalis will ultimately result in you becoming a giant cycloptic moth. This will most likely result in a one-way ticket to Squishville. Treatment is however, easy. Just apply a jar of Lloyd Grossman’s Korma sauce to your chrysalis each night for a week. The problem should go away within 3 days. I hope this has helped you Musty Jane.

Good luck on your journey my creative hatchling… now fly!!! Always & Forever Charlotte X

Well that concludes this weeks article; if you have any comments or a problem of your very own, please contact me at Ask.A.Babe@gmail.com

it wouldn’t be fair if we didn’t leave a small space for a penis-drawing competition to take place, would it.

Dear Charlotte I seem to have noticed that I am slowly becoming a chrysalis. Any advice? All yours, Musty Jane.

Love forever babes x Charlotte

*Whilst Charlotte is the master of interviews and feminine poise, not all of the advice should be implemented, only most of it.

Unit Editions Unit 01 Studio Culture: the Secret Life of the Graphic Design Studio Editors: Tony Brook & Adrian Shaughnessy 312pp, 165×230mm, 4 colour + 1 PMS £24.95 + P&P U:D/R 02 Unit: Design/Research 02 — Space and structure. Looking at Form, a quarterly magazine of the arts (1966-1969) £7.50 inc P&P (Worldwide) U:D/R 01 Unit: Design/Research 01 — Ronald Clyne at Folkways. An anthology of Folkways album cover art featuring the work of Ronald Clyne £7.50 inc P&P (Worldwide)

Unit Editions titles are available at: www.uniteditions.com

NOW DO A WORDSEARCH YEAH?

H D N R R G O N C E I G I E S H A W N G A E P C

U U T F S N G O I A P C H D Z P M R G C A S L A A G S G P M O K U G T O O A I S G I E E R E A W

W D U E Z D N A K N N T N S U U A A P Z E S R U

L F A I D Z D C N G N I N T H G I L N T E U R A

R S E A N U A S A D K G C I C E L S N E T N R N

U S N L A S T R S R A I I H R S R U H R O O A O

C R N T L C A S O E E D M A O P N E G I E A S A

ACE ADVERTISING AWARD BOOZE CAKE CORAZZO DANDAD DESIGN DIGITAL EBOY

E O E L G A U W O C C M V G F L Z K T O E L I E

A J A A N K T T A C A O L E E I A A N N B D U A

E B L H E E O I T R O A R S R E R S N N U N O O

A C F G N A S L O C D D S P A T E O A D O H S E

S N P L O S S H I I E Y O I S U I I I E A I I Y

F Z I N E C A R A S O N A U E E Z S C O S T T U

FACEBOOK GLADIATORS GLUG GRADUATE HUNTER ILLUSTRATION JET LIGHTNING MCNICHOLAS NETWORKING

H E I B M O Z T I U S L L E H S M K I T L G M W

E Z F Y O H S A O C O R O N G A W R E G G I L H S T T I C R W C T E U N H N N I Z G C T M U N O

O E Y H F L E U S F S T N H E G A U G O M H A T N T O E A E R I W E O E I S G N A E S C R E W O

PRINT PROCESS SARACEN SHAUGHNESSY SHELLSUITZOMBIE SHMOOZE STUDENT THOUGHTFUL WOLF ZINE

(In addition there are 8 hidden words. If you get them all you’ll find out what the prize is and how to claim it. It’s a good prize, trust.)

O N O M A T O P O E I A H Z S T L H E G R R J E

O N N W W U H H O R D D E E Z U L S W D G R H I N I O O D R S U S Y C I E L U G N T Z A T T P U

O A G I O N I N R F Z A A N A A L T F L A A C S E R B Z O W O Z K R A Z R F D E K R L A N C L L

OR MAYBE READ SOME HAIKUS

Into the abyss A smooth, brown teardrop tumbled. Up came Neptune’s kiss.

Haiku illustrations by Paul Shinn. www.paulshinndraws.com Hai-poos courtesy of AMW @ Brown Words. www.arsetronomy.blogspot.com

I sit, head in hands. I’ve had enough, it’s over. Give me back my ring.

The Man

He sits, old glass-eye. He’s told he’s ‘not likeable’ ‘Try to smile’, they say. ... A look at Douglas. ‘I suppose this is it then?’ ‘...I suppose it is’. The floor, hard on legs under studio lighting. Hot, uninviting. He grips the lectern. That fucking David, flash git. Twelve million eyestoo many to grasp. Focused on a cause, losing. Two flies in his ear. He looks. One more week. Economic down. TurningWalking off stage right to tomorrow, more tired. Accusations, no answers. Just the right idea.

illustrations by Paul Shinn. www.paulshinndraws.com

All cover artowork (and the poster) are by Eboy. www.eboy.com

STUFF AND TINGS Cheers pals: All contributors of course deserve thanks, we pay them bugger-all so they have all proven themselves to be natural born philanthropists as well as all verbose etc. We are forever in your debt. A special HOORAH! to Laura and Rhiannon at D&AD for supporting us for the last year (and a bit) and trusting us enough to let us play around with their New Blood Baby. Thanks to Nick, Martin and The Marstan Press, if you’re reading this on paper it’s official - they’re mega at printing and wotnot. Woot woot to James Pallister and Meat mag in general for being the original inspiration over two years ago and then providing impetus when push came to

shove. Unless you are them (in which case we assume you know this) you should totally check them out at www.meatmagazine.co.uk

Editorial /Submissions submit@shellsuitzombie.co.uk

Holler to our sponsors Brave and morphlondon, without whom this magazine literally couldn’t happen. That’s brave.co.uk & morphlondon.com for those interested

Ads/Sponsorship jonny@shellsuitzombie.co.uk

All others who have helped, whether that’s proof reading, helping at the launch, providing moral support or just cups of tea, we thank you. And you guys, the readers. Tell your friends (assuming they have a crisp £2.50 note on them) - that way there will be plenty more issues to come.

Get in Touch

Letters/Rage stuff@shellsuitzombie.co.uk

For those interested This magazine was printed on Premier offset uncoated paper predominantly using the typefaces PMN Caecilia, Benguiat and Courier Sans with a few others beginning with the letter A (Aachen, AK12, Adobe Caslon) thrown in too. You losers. This edition was brought to you by ShellsuitZombie, powered by DJ Krush and bad Ska covers, reliant on PG Tips and the generosity of many and revolving heavily around Jonny’s rickshaw, which at the time of writing remains not at all road safe.

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ÂŁ2.50 or 2 for a fiver