BEYONDgraphic design

Residing in Sydney. Angela is a mature age woman with two daughters & two grandsons.

After completing a fine arts course with an associate diploma in 1988, the creative bug that had been laying dormant started to make itself known.

Got started in the design field when she had a Balloon Decorating Business she tells us she ran it from home with: ‘Not a lot of capital,’ wanted a website, bought html for dummies. Built a flaky website, decided to do a web design course”and off she went! Decided her preference lay in design field, so got herself a Diploma in Commercial Arts (Graphic Design.) with CATC Angela’s passion extends to Illustration & small biz branding with a view to expand into

photography.

As a result, with a little help from my friends (inspiration-Designer Chicks) and general feel from Bethany, BEYOND graphic design is born. There is so much talent out there and issuu is such a great vehicle for sharing information, and showcasing talent!http://www.meamdesign.com.au http:// www.facebook.com/MeamDesign

http://www.behance.net/portfolio/projects http://issuu.com/meamdesign/docs/portfolio_iissu_7

Angela Mitchell

Louise RaadgeverMy love of art, design and all things creative inspired me to start Radge Design with the aim

to produce funky original Graphic Design, Art and Jewellery for all.

Radge Design is the creation of myself, Louise mother to two little monsters who keep me on my toes. I am passionate about art, design and all things creative. I enjoy thinking outside the square and pushing the boundaries with my designs. For me design and creativity don’t start or end on a computer screen; digital design is simply a cleaner way of expressing my artistic ability than drawing, painting or printing. Studying graphic design has enabled me to learn a complete new set of skills in design that are continually evolving. I have completed a Diploma of Commercial Arts (Graphic Design) through CATC.

If you would like to know more about Louise & Radge Design, check out her website and facebook page.

http://www.radgedesign.com.au | www.facebook.com/radgedesign

Leona Ryan“I grew up on the Sunshine Coast enjoying the sun and the sand. Though never officially

studying art at school I have always been a little arty and crafty. I enjoyed drawing when I was younger and discovered canvas painting when I was older and have only recently found an interest in graphic design. I am building my own creative business using my arts and crafts to make handmade things for family, friends and clients and my graphic design to provide professional design services. I am facinated with technology and how creative it allows us to be, I am really excited about the design industry for the future.”

If you would like to know more about Leona & Emily Jade Creative, check out her website and face book page

www.emilyjadecreative.com www.facebook.com/emilyjadecreative

Shelley Morris

Pamela HoyPam is a Hypnotherapist & Counsellor by day, and a quilt maker by night. She has enjoyed

patchwork and quilting for many years, it has been a wonderfully creative outlet and an extremely relaxing hobby that nurtures her creative side. Pam is aware of the need for people to relax regularly. She has taught herself that it is not

being selfish taking time for ‘me’. and in fact needed and deserved that time.

Pam teaches her clients the techniques of relaxation and many have reported to her how they experience less anxiety, improved self confidence and better sleeping patterns.

The skill of letting go of physical tensions and quietening the mind is incredibly beneficial.

If you would like to know more about Pam, visit her website!

www.hypnotherapyandcounselling.com

Shelley Morris is a graphic designer and illustrator who has just completed her Diploma of Graphic Design through CATC Design College.

Shelley currently works as Branding Coordinator for the Wound Management Innovation Cooperative Research Centre and was responsible for the design, strategy, implementation and ongoing brand management of the Centre’s re-brand which rolled out in October 2014.

Shelley is also part owner and designer for Brisbane based design partnership, M&K Design Co. Shelley enjoys live music, coffee, craft beer and design that pushes the boundaries

Bethany Yates-SlaterBethany is from the Queensland Gold Coast where she freelances as an Illustrator and

Graphic Artist & Designer. She has worked in print media for over a decade with a focus on advertising and marketing material. Bethany is committed to good communication and client satisfaction with no project being too large or too small.She has a special interest in popular culture and in the traditional arts.From logo creation to installation and book illustration, Bethany’s approach and application

is both professional and creative.

If you would like to know more about Bethany & BYS Graphic Design check out her website and facebook page

http://www.bethanyyatesart.com http://www.bysgraphicdesign.com.au

This issue’s main topic is about negative space’ however rather than base the whole e-mags content to that topic it has been decided to also concentrate on contributors area’s of expertise.

Our front cover features a photograph taken with a smart phone by a very talented photograper friend, Carla Costa. I thought that the image used ngative space in a pleasing way.

A special thanks to Louise and Leona for their help with proof reading .

Beyond graphic design would also like to welcome a new face, a recent graduate of CATC design school, Shelley Morris. Shelley’s article, covers Web Design trends, and she hopes to be a regular contributor in the future. Shelley’s other area of interest is Illustration.

Pam Hoy talks about negative space in her quilts and how important it is to the overall design. I talk about negative or white space as it is sometimes referred to and how if used correctly can help get your message across in a most positive way!

Louise Addison shares with you her answer to staying on top of the down side of being a freelance Graphic Designer and Leona Ryan gives advice on how to save yourself from being ‘ripped off’ by clients by ensuring that you have safety measures in place before hand!

Two other graduating students from CATC schools, Andrew Lowrie and Samara Cook share with you their final submission, before embarking on their chosen paths. Andy has written an article about Hand Lettering, another area of Graphic Design that people tend to specialize in, and Samara writes about Textile design trends. I am including these articles because both areas of design have not been covered before in this Magazine and may be of interest to you.

Editor’s Letter

Negative spaces are often overlooked as an opportunity to celebrate their individual beauty.

We tend to concentrate on the positive areas of a quilt design and neglect detailing the negative.

Selecting a plain, darker coloured fabric for the negative space

compared to the lighter colours of the positive areas give the impression there is depth to that space. When incorporating lighter coloured fabric in the same space, the shape comes forward.

Designing one or several negative spaces is fun and can change the look of the quilt dramatically. They can be asymmetrical or not. There are so many choices you can make from the design stage to the final step of stitching the binding in place.

The shape of the negative area is extremely important, drawing the eyes directly to it. Depending on whether we find the shape attractive as to how long we are likely to look at it. The longer we look, the more opportunity there is to notice and appreciate any detailing that may be present.

In this sense, size does matter. The negative space will be most attractive

if it is in proportion to the positive areas, and the overall quilt dimensions. Incorporating different size negatives adds interests to the quilt.

Designing, making and quilting a quilt offers a wonderful way for men, women and children to express themselves in an artistic manner. Fabric is a tactile medium and extremely versatile. Quilting is growing in popularity, if you have not enjoyed this art form as yet, have a go …….. you may love the process and feel fantastic sleeping under a quilt you have made, or admiring a quilted wall hanging you designed.

Negative space in QuiltingDon’t neglect

Right: 2 Photo’s showing a work in progress.

Note also the use of repetitive pattern.

Pam Hoy

Hypnotherapy and Counselling

Are web designers prepared to battle the forecasted web trends and keep up with the demands of an increasingly web-savvy user base?

Or has web design gone to the doges?

As of late 2014, we like to use the internet in many varied and strange ways. According to the stats in this info-graphic, there are currently 2.9 million users worldwide, and out of these, lolcat videos are predicted to be the cause of most traffic (well, “Internet Video”)

www.statista.com/chart/2647/

Speaking of lolcats, I know a friend of a friend who loves nothing more than coming home after a hard day of work to watch internet cat videos. I have to say, spending hours on BuzzFeed.com is a guilty pleasure. Who doesn’t want to take a quiz on what famous internet cat or Taylor Swift song you are?

And if you don’t have time to spend wasting your youth away on the internet, and enjoy the doge meme, definitely do not visit this website..

http://doge2048.com

According to this info-graphic, http://www.go-gulf.com/ internet users world-wide spend their internet time on social networks, emails, browsing and reading. The data from this infographicpredicts that location based services and Time Shifted TV will be the most popular trends of future followed by Internet Banking.

It is fair to assume that designing for the online world is a growing rather than shrinking trend and, in my opinion, an essential one to stay competitive in the over-saturated world of graphic design where there is more supply than demand.

So,we know the internet is important and needs designers, and that it is popular for procrastinating and for the invention and spreading of viral animal memes, but how much does all of this impact on the way we as designers focus and fine tune our coding prowess?

Web TrendIt’s Raining Doges and Lolcats!

Forecast:

Most of us know the basic bread and butter of a good website even if we aren’t avid coders,ensuring the site meets the need of the client and their clients, good design principles, search engine optimisation, ease of navigation and optimisation for different screen sizes.

Is this enough, though?

What are the current and predicted trends and what ways can we keep ahead of the pack?

I’ll answer this question by listing my top 5 web trends for web designers and how to capitalise on each trend to be one of those demand not supply designers.

1: Get hAPPy: The death of websites and rise of the APP

Web developer of 17 years, Christian Heilmann, says web is no longer the ‘cool thing’ and he has a point. No one wants to copy and paste long winded URLs into browsers to be met with a static website.

In his Ted-X Talk, Christian speaks of ‘the new dawn of the internet’ - the decline of the desktop website and dawn of app design.

www.youtube.com

73.4% of global online users in 2013 used their mobile device to access the internet (according to the same info-graphic link above) and this is expected to grow to over 90% by 2017. Google has seen a 400% increase in the number of mobile searches within a year; and Google prefers responsive websites so will show them first, according to research from this article

www.appmachine.com/blog

The user experience is what makes apps so attractive, argues the author of the article:

“apps are fast and users can swipe, tap, double tap, tap and swipe, zoom, tilt and hold: which makes apps far more interactive than anywebsite. Plus, native apps (those written for the device’s OS i.e. Android or iOS) have fast loading speeds and superior navigation.”

This is potentially scary news for the traditional web designer who may make static HTML pages and get briefed to make an app. Though App design is built on the same building blocks as any other websites, it does require further optimisation and customisation to interact and respond perfectly within a phone or tablet device. This requires extra time to commit to learning the ropes and possibly new code editors or app building software.

Maybe don’t waste your time, because according to Heilmann, apps are nothing new and are nothing more than marketing hypecapitalising on a trend-aware market.

The biggest issue he identified with apps are privacy, lack of personification, SEO customisation, accessibil ity concerns and misconceptions about terms and conditions - all content uploaded is not actually yours - meaning your duckface selfie could be used in an advertisement without needing your consent because of the terms and conditions you didn’t read but clicked ‘yes’ to.

So, in summary - apps are a trend that could go either way, but best to arm yourself with the necessary skills to stay ahead.

2: Responding to Responsive Demand

While Responsive design is not a new concept and is increasingly becoming the expected standard - it is still a more laborious job if created entirely in code (i.e. you need to create 3 sets of HTML and CSS) rather than a liquid layout, but it is worth mentioning because in my recent training in web design, this wasn’t something covered for more than an hour because of the ‘time involved’.

While learning the code fundamentals was important, creating at least a fluid layout should be an essential part of the curricula.

Design colleges and institutions should ensure that curriculum meets current client expectations and trends. However, the onus is also on me - I need to develop those skills and understanding to create the perfect web solution for my clients.

In this article, the author discusses how web designers need to be reactive - being flexible in client demands and accordingly, filling in your skill gaps to keep up.

www.creativebloq.com/

On a similar note, Joe Harrsion’s experimental website, ‘Responsive branding’, shows that it’s not just the web that should become responsive - it is also brands, and their application on the web. This is an interesting trend to watch that affects all areas of graphic design and perhaps will result in design being less specialised and more ‘jack of all trades’

http://responsivelogos.co.uk

3: The DIY Web

A trend I’ve noticed around the traps is the amount of ‘Do It Yourself’ website builders.

They are free and give anyone with a business an instant website without engaging the services of a designer.

Among the popular sites are Weebly, Wix and Content Management Systems (CMS’s)Wordpress, Drupal and Joomla. In addition, more people are using Facebook instead of creating a website. It could be a cost or time factor, but this trend could affect web designers both ways.

It could be negative if the web designer isn’t familiar with the website builders and CMS’s because, they do save a lot of work and time, and allow the client to manage their own content without code knowledge.

Mastering these website builders with your own code trickery could be a valuable skill to add on your CV.

Using Facebook on the other hand is a matter of education and where a good business sense on the designer’s part comes into play - Facebook, like any other social media, is not controllable in terms of SEO, privacy or branding customisation. Therein, a good designer can plug the merit of a website, whether it be a mobile site or app.

These website builders remind me of the explosion of desktop publishing when Microsoft Word first came onto the market in the early 90s. Everyone

thought they were graphic designers and the world exploded in a Doge-meme-style comic sans invasion of poor typesetting and layout.

The time will come where poorly designed, inaccessible and ugly websites will allow the professionals to step back in and smugly sweep up the trail of disaster.

4: Paralysing Parallax

One thing that an amateur web designer will struggle to create in a DIY free editor is a beautifully crafted parallax scrolling website.

Parallax scrolling is a popular new trend in web design that involves the background content moving slower than the foreground content, creating a very memorable and engaging 3D effect as the user scrolls down the page.

This technique is created with clever use of HTML5, CSS3, Javascript and JQuery scripts, as an example of such a script, this web developer created his script site by showing off the amazing effects one can create:

matthew.wagerfield.com/parallax/

This technique does involve some advanced coding but it is not beyond some online tutorials and downloadable source documentsto play with and get right.

The danger of this trend is that it will become over used, gimmicky or take so long to load the effect loses its impact (flashback to Flash websites!). However, executed well, these sites set the mark for amazingly interactive, clever and engaging websites that might just knock apps off their perch in the way that you can create a story and interactive journey through a brand.

Here are some excellent examples of parallax scrolling, from the simple to the more complex:

www.spotify.com

www.exsus.com

makeyourmoneymatter.org

lostworldsfairs.com/atlantis/

www.spaceneedle.com/home/

neomam.com/interactive/13reasons/

Shelley Morris -

Hopefully this list will inspire you to get out there, research and hone your skills because the big world of web design is as exciting as it is changing and the only way to ensure you stay on-trend is being aware of what’s in-trend.

So get trendy!

And the good news is, that when you need a break, you have a free pass to procrastinate on lolcats and the Doge matching game because - it’s trend forecast research! You never know where your love of animal memes could take you, heck, you could end up writing a blog piece about them.

5: The Multi-Medium Approach

The current trend of parallax scrolling presents a very exciting opportunity for those of us who prefer more traditional visual arts techniques.

On trend are vector illustrations, flat design, hand lettering and hand rendered character illustration.

Combining a hand-made feel to modern coding techniques brings a whole new element into not only how you can present your portfolio and professional work on the web, but also re-defines what having an online presence means.

The fact that Peugeot have enlisted the skills of an illustrator to advertise their product is something that wouldn’t work so well on paper, but on a website with interactivity, sounds and exciting visuals, it definitely gets all the senses going!

Check out the link below.The websites below show the incredibly beautiful and effective use of

parallax scrolling and illustration, working seamlessly together to create truly unique and engaging websites:

www.nytimes.com/projects/2013/tomato-can-blues

www.cabletv.com/the-walking-dead

graphicnovel-hybrid4.peugeot.com/start.html

For Using Negative Space

Positive Ideas

When creating any artwork it is necessary to consider all aspects including the ‘negative space’ to ensure that anyone who is engaging with your artwork enjoys a very pleasing experience.

The viewers eye needs to be drawn to look ‘into’ as well as ‘at’ your handiwork, be it a logo, leaflet, drawing, painting, photo, quilt or or indeed any other form of image you can think of.

There are many visual hints available to enable your work to be the best it can be, colour plays a part as does size, perspective, repetitive pattern, shadow and indeed the shapes that make up negative space.

Be Positive with Negative Space

Right:One of the most widely used examples of negative

space

What you see depends on which side of the brain you are using!

Logo’sSome of the best Logo’s use negative space in very clever ways, think

about the Fedex logo with it’s hidden forward pointing arrow #fig 1 or # fig 2 the ‘Yoga Australia logo’, uses very clever negative space with it’s hidden map of Australia.

A bit of a twist in the ‘No kid hungry’ Logo, #fig 3.Here we have an apple core instead of a vase.

The ‘Black dog’ Logo #fig 4 is also a great example, if you google ‘black dog logo you will find a variety but the one designed by Alexey Carlove is one of the better ones, in my opinion

# fig 2 Yoga Australia Logodesign byRob Smith Design

# fig 1

#fig 4Black Dog Logodesign byAlexey Carlove

#fig 3

Advertorial StuffNegative or white space (as it is sometimes referred) works very well when

designing printed material such as posters, newspaper ads, leaflets or flyers for a client, keep in mind the KISS principle,

In her article, Shelley talks about the explosion of desktop publishing in the early 90’s with the introduction of Microsoft ‘Office’ software that gave birth to small business owners becoming DIY designers, what she says is quite true, I know I was one of them! It wasn’t until I studied Graphic Design, and researched the subject, that the penny dropped!

It is not necessary to cram every last bit of information into any advertorial piece, Try either a compelling image and minimum copy or a catchy heading, clear concise copy with less emphasis on the image.

So keep in mind the hierarchy of the elements in your work, size will draw the eye to the most important part of the message and embrace using white space to encourage the audience to want to read more.

By using negative space wisely, your designs will be far more appealing to the viewer because visual hints as to the importance of what you are trying to say will be clearer and less complicated.

Above:Clever use of negative space in advertisingby Alden Jewell

image source

In Art or DrawingsLearning to look at the subject’s

negative space you are drawing or painting will assist you in rendering a more realistic result. If it is a tree, look at the shapes that are in-between branches or clumps of leaves.

#sample 1. has been roughly rendered to give you an idea of what I am talking about. The black area would be the negative space and the white is the subject or positive space.

# sample 1

More ways to help you to paint what you see:

Look at shapes within-shapes

• heavy line or shade can indicate weight as well as make something jump out or appear to be 3 dimensional

• use warm colours for objects in the foreground• cool colours to make the background recede• carefully observe shapes with-in shapes and try to match subtle hues• size is also an indication of depth, as subjects recede they become

smaller, and detail would be less visible• when painting with oils, it is a good rule of thumb to paint in your

darker areas first, but take care not to ‘muddy’ your colours• water colour is a matter of building up depth of colour, so for best

results, it would be opposite of oil paintings, ie your highlights would be the paper left white or nearly transparent - #sample2

• acrylics can be used either way • look at where the light hits the subject

lovely use of negative space,

water colour by

Cate Parr

#sample2

Angela Mitchell

Negative Experience into a Positive Turning

You deserve to be paid, know your worth and ask for it.

Negative space doesn’t necessarily have to be a blank space on the page. Not being paid for a recent design project I completed has been the cause of negative space and a blank canvas of inspiration for my next project.

There are some industries where it’s easy to get ripped off, Graphic Design is one of them, usually from inexperience. Being relatively new to the industry or just not having a grasp on how to set your terms from the beginning of a potential project can lead to our own unfortunate downfall. But there are some ways to prevent this.

I’ve had a recent experience where I designed a new business logo and created the print ready files for a shop front design (by direction from my client) and received no payment or recognition at all. I was gutted, it took me hours of work. I do take full responsibility for it through lack of communication and lack of courage to ask what I believe I am worth. However, I am equally disappointed in my client for abusing my time and skill.

I am not a fast paced whizz designer by any means and juggling family life as a single parent, full time study commitments and building my own business, I give myself permission to not be able to do everything for everyone at a moment’s notice. Some people don’t understand this and expect the earth when you just can’t give it.

I have seen many forum and social media posts from designers regarding clients who have gained a bargain from them and no one to blame but the designer, unsure of what they should be charging.

We all go through it and it sucks. Using these forums, however, to air our frustration of not getting what’s due helps to calm the sting and we can help each other with tips to prevent being ripped off again in the future.

This is not the first time I have been ripped off, and maybe it won’t be the last. But I have learnt some valuable lessons from my experience. Set yourself up with a few of these tips;

• As hard as it may seem sometimes, asking for money is a skill you

have to become assertive in. Learn how to kindly ask for money. You deserve it. Your time and skill are precious.

• Establish your price, your hourly rate or your project rate from the beginning. It helps if you have a base rate you automatically charge and increase it accordingly as your project expectations increase. Explain your price if necessary, many non-designers don’t understand what it takes to create a design. Set your expectations from the beginning.

• Bartering may or may not work for you. Consider whether swapping services is in your best interests. In my experience mentioned above, swapping services did not work for me at all.

• Create a contract, set your terms and you both need to sign it. The contract can be negotiated, however, make sure you and your client agree to the terms before you start the project. There are contract examples available online. Use them as a guide to create your own and save it as a template for all future projects.

• A few items to include in your contract are: • time expectations • project delivery • price and payment terms• licensing• copyright terms• promotional terms

• Don’t beat yourself up if you are underpaid from lack of preparation or assertiveness from your part. This is how we learn, even if it’s the hard way, it happens to all of us. You can still use what you created in your portfolio which could lead to a bigger and better project.

• Find a couple of forums and be active in them. Share your experiences and frustrations. We learn together.

But most importantly don’t let these experiences stop you from creating your next amazing design. Keep your creative juices flowing no matter what! This was a negative experience causing me distress, but I have to brush it off and find my colour again.

Leona Ryanwww.emilyjadecreative.com

OrganisationWorking as a freelance graphic designer, organisation is vital, you need

to have a way of keeping track of jobs coming in, deadlines etc… and you are the only one doing it, there are no other staff or assistants to help keep you on track so whatever way you do, it needs to work for you and your way of working. You can find eons of different articles and ways to organise yourself if you google.

There are websites/programs which you can use to track workflow, many have apps that enable you to access them anywhere on your fancy smart phone.

But as much as I love technology I have discovered for me a job board (aka a whiteboard) and trusty notebook are my fall back methods.

They don’t require the computer to be on and at a quick glance I can see what work needs to be done without being distracted by anything else on the computer… like social media (which is awesome for promotion but the biggest time suck ever).

Whatever you use doesn’t need to be fancy it just needs to work for you.

I admit writing things down is old fashioned but since most design work starts out with sketching and brainstorming they don’t all need my computer to be on, so a notebook works for me.

Keeping track of time also comes into play which is where I find pen and paper to be easier, the notebook sits next to the computer I jot down the time I started the job, time I finished on it. And all I then have to do is add up the time when it is all done.

It makes life easier when there are multiple jobs on the go, I just write down the times on the line for that job. I now have a much better idea of how long jobs take, which then aids in quoting on new jobs and keeping business as a freelancer moving along.

Louise AddisonRadge Designwww.radgedesign.com.au

Of course what I want in a notebook isn’t standard but the advantage of being a designer is I can just design one that works.

Get OrganisedGetting Busy?

The phrase ‘handwritten type’ might not seem the sort to fit seamlessly into the vocabulary of the current design lexicon.

However, a brief survey of online design communities reveals this to be untrue. Image sharing platforms such as Pinterest, Instagram and Tumblr indicate an interest in hand drawn type amongst craft and DIY design communities and even more generally throughout the public.

Emerging designers are also looking to hand let tering to reinvigorate their creative practices and generate more unique visual solutions.

Most interestingly, appreciation for hand lettering from design industry professionals has seen it emerge as a serious pursuit for current practitioners and is af fecting change amongst contemporary approaches to design.

A return to traditional techniques and hand crafted design marks a significant change in an industry that has been digitally saturated since the introduction of computer based design.

What is it about hand lettering that has re-captured the imagination and will its resurgence yield lasting changes?

It should first be noted that digital design has never eliminated the use or appeal of hand lettering. Design masters such as Louise Fili, Seymour Chwast and David Smith were creating strong, hand crafted work before the introduction of the computer and continue to inspire with their output today, as do many other designers.

In contrast, type setting has definitely seen irreversible change with the development of digital technologies, due to the speed with which a computer can assist typographers in quickly arranging body text. However, in the case of display type and type illustration, it could be said that a balance of traditional and digital skill is now being sought after, with some designers favouring the former entirely as a specialist skill.

It is worth mentioning the distinction between these two areas of type design, so that it might be clear that the focus of this essay is on hand lettering and not typography.

Joseph Alessio clearly defines the unique quality of hand lettering as “a specific combination of letterforms crafted for a single use and purpose as opposed to using previously designed letters as components, as with typography.”

Thus the work of a designer like Louise Fili, who creates unique letter form artwork for her clients, could be defined as hand lettering when the work of designers like David Carson or Adrian Frutiger could be defined as typography and type design - ingenuity and mastery aside.

Australia currently benefits from a range of designers investing their time in the mastery of hand lettering. For some of these designers, the more traditional title of sign writer has a moment of revival, as the crafting of letterforms to adorn public spaces and businesses is once again utilised.

Sign writing in this instance is a technique revived by designers such as Will Lynes of Lynes and Co. and by Rick Hayward and Emily Devers of Frank & Mimi.

Examining the TrendHand Lettering

words by Andy Lowrie

Louise Fili, Identity for Txikito Resturant,

Cheslsea

Will Lynes, Lynes & Co. Studio Identity

David Carson, Advertisement for

Armani

Often employed by small, local businesses, their work is used for in situ branding and identity and is always created with paint and brush. In recent communication with Hayward and Devers, the designers explained that a yearning for ‘human-ness’ contributes to the success of a hand lettered design.

They explained their own approach as an “attitude of creating something friendly and approachable, yet still honouring design traditions forming truly refined letters. In an age of short cuts and shifting trends, it is our refined approach that we feel sets us apart from our (often digital) alternatives.”

Their practice shows that a deep understanding of how letter forms work coupled with a skilled application of material and original voice give hand lettering a competitive edge.

A hand lettered design does not always take the form of sign writing. In an article for the New York Times blog, Stephen Heller draws attention to a myriad of other hand lettering references popular amongst designers today, including Victorian, Art Deco and Art Nouveau styles, comic book styles, block lettering and even the idiosyncratic style of a designers self taught penmanship.Joseph Alessio would have calligraphic styles added to this list also.

The cover designs for Jonathan Safran Foer’s books are adorned iconically by the hand lettering of designer, John Gray. In this example we see hand lettering on a more humble scale than would be created in situ for a client. In all examples though, the feature of the work is its execution by the hands of the artist/designer.

While there are many designers who would never deny pen and paper as the genesis for their work, hand lettering is created entirely by pen, paint and hand. Some designers use digital technology for reproductive purposes but rarely is the evidence of their handiwork hidden from the viewer.

Skilled labour in this traditional sense is what makes hand lettering such a specific category of graphic design, but also one that takes time and practice to master.

Herein lies part of the appeal for hand lettering and a reason it remains at odds with fast, digital design. As Veronica Grow, of the Old School for the New School of Design and Typography (OSNS), points out “To invest thousands of precious hours and persist through the trials and tribulations, rejections and tricky problems in making with skill, is ‘to care’. Caring is intrinsic to a sustainable future.”

Above:

John Gray, J.S.Foer Book Cover

Grow highlights that while hand lettering is a slow and challenging process to master, it is these things that give it value. Old School New School was developed by Grow to promote this kind of process in the field of graphic design and the output of the school and its students is testament to the interest, at least at an artistic level, for design of this nature.

Above

Page from Old School New School/Ask

Alice 2015 Collaborative Calendar

A sustainable approach to graphic design, that relies on enhancing a designers skill and promoting a sense of thoughtfulness in approach and execution, seems a viable way of bypassing trends and creating a foundation for future growth in this industry. It also contributes this value to the brand, client or individual employing a designer who offers this skill. If its appearance Australia-wide seems like the new standard it is likely due to the appeal of hand lettering to people hoping to convey a sense of personality and autonomy, a unique selling point for a small business.

The notion that a hand skill such as lettering would take time and error to learn is not new, it is similar to many master craft processes.

Lisa Hassell, identifying the trend for hand lettering in the current design field, surveyed several successful designers to seek common attributes.

Aside from those associated with most graphic design roles (inventive problem solving, a love for type and nailing the concept), Hassell reports that successful hand lettering is about learning by doing and through this process, defining a unique style.

The goal in this model for success is to carve out a niche within the competitive field of design with works that resonate.

This reinforces the views of Veronica Grow and makes sense of the impact of a Lynes and Co. design, that this type of graphic design requires effort and practice but can create a strong and unique impact.

A designer looking to work, successfully, with hand lettering must be committed to a slower career path than a designer being promoted within an agency.

It is also made plain that hand lettering is generally freelance work that requires self promotion and impressive work.

For some designers, the aesthetic of hand drawn lettering drives their work, but the outcome is realised digitally.

In this instance we might be talking about designers like Jessica Hische or Jackson Alves who are both masterful drafts-people but frequently digitise their unique letterform designs.

Designers like these show the broadening appeal of hand lettered designs that once might have only appeared on windows and walls but are now being created for screens and mass printing.

Importantly, these designers are not mimicking a hand lettered aesthetic and only introduce digital technology after the letter forms are crafted.

Jackson Alves, Sol Beer Advertisement

Hayward and Devers offer the warning that “a lot of these digital reproductions (when looking up close) [are] pushed so much towards this aesthetic that the consideration for important elements of design sometimes get left behind, leaving hand-drawn type to appear messy and haphazard.”

It is encouraging, looking at the portfolios of Hische and Alves, to see hand lettering skills applied thoughtfully and skillfully and appreciated by a broader audience. If this trend continues we might see more support in the market for the designers interested and capable of producing the work. Designers learning, using and promoting hand lettering have something unique to offer the graphic design industry.

Bringing traditional techniques and materials to a digitally concentrated field is proving successful in many areas of visual communication, offering a standard of individuality and thoughtfulness difficult to achieve by other means.

Introducing oneself to the field might initially be challenging and time consuming but the payoff is a tacit knowledge of commercially viable and creative typographic skills.

The challenge of developing sound lettering skills, being based heavily on practice and motivation, is essentially one suited to any designer with an interest in this type of work. So beyond the energy required to commit to carving out a niche in the industry hand lettering is accessible to all.

Design Trends - 2015Textile

The textile design industry is a vast and varied one and comprises both manufacture and design working together. From clothing to interiors, to industrial and medical applications, textiles themselves are fundamental to design, as much as design is fundamental to the aesthetic value of textiles.

When considering future trends in the textile design industry a distinction must be made between textile production or manufacturing trends and textile design trends, even through they correlate. When designing textiles such as fabrics, wallpapers, film and plastics etc., the design process which requires colour, print, pattern and texture development may not only be influenced by trends in the fashion, furniture and homewares markets, but also by factors that influence the production of, and accessibility to the textiles themselves.

For example, there are notable trends in the textile manufacturing industry which may effect the types and availability of fabrics and other textile products to designers, such as a lean towards environmental awareness and sustainability of product resources, and advances in technology and in turn productivity.

Such developments mean that designers are becoming more aware of taking responsibility for what, how and from where they acquire their core materials and what the conscious consumer is now requiring of them.

Luckily for textile designers, trends in the textile design itself are largely foretasted by knowledgeable and influential designers and agencies long before fabrics and other textiles are produced for use in clothing, upholstery, bed linens and many other indoor and outdoor textile goods.

Huge amounts of information relating to current and future planned global events and issues are analysed, such as architecture projects, hotel openings, film productions and museum shows that may occur over the following 2-3 years (What drives design + colour trends for 2015 by Sacha Strebe 2014).

Their predictions help guide the design, manufacturing and buying activities of the world’s best know brands and retailers.

There are several forecasting agencies and trend seminars located globally, and trend webinars and blogs on the internet, offering advice and predictions on specific colour, pattern, shape, materials and styles for textile designers.

Each designer will of course decide how to use these trends in their designs, however making the most of this valuable information and keeping skilled in their area of expertise will help to reach more of their consumer market. The following are some notable trend predictions as we move into 2015 - 2016.

Lucy Hayes, Senior Design Editor of global trend agency WGSN’s predicts 6 key directions for 2015: textures of nature, photographic imagery, flat colour (matt finishes to contemporise a look), craft (exploring ancient crafts and creating new techniques), recycling and upcycling (and new material hybrids), and free-flowing, fluid shapes.

She also predicts three directions to showcase these trends, which are more specific to colour and pattern choices, however her 2015 colour insight suggests it is all about lemon yellow (Complete Home Blog by Emma Wheaton 2014).

According to Victoria Redshaw of Scarlet Opus, colour palettes in 2015 will “become more complex, colours more nuanced, and colour combinations more challenging than ever before” (What drives design + colour trends for 2015 by Sacha Strebe 2014). While black will always have its place, grey has also found a place in the ‘classic category’, however the most interesting colour development will be seen in metallics.

She also suggests geometric patterns will continue to be popular, however there will be a move towards defaced florals, medieval designs and marbleised patterns.

At a recent DesignEx, Lidewij Edelkoort (Li), one of the world’s most well known trend forecasters whose company Trend Union creates trend books two or more years ahead that are tools used by strategists, designers and marketeers at international brands, made her own predictions about the near future trends in textile design.

She says “for the first time in a long time, there is not a single aggressive story underneath designs in fashion, interiors and architecture” and proposes the idea of designs that “embrace, cuddle and make us feel happy and safe” (Recycled Interiors / Twenty Design Trends for 2015).

Again similar themes are predicted by Edelkoort who suggests that greens and yellows will be the predominant colours, and new synthetics and tactile materials will be popular in keeping with the environmentally conscious push towards recycled or soft natural organic fibres and sustainable leather products. Also the metallics and space theme will also be trending, juxtaposing on a historical trend and prints featuring marble and stone.

So, what does this mean for textile designers wishing to design on trend? According to the predictions, being conscious of where to access your materials and an in-depth knowledge of fabric development and manufacture will help with making the most of these trends. Having skills in developing pattern prints, an understanding of historical styles and skills in photography will also help. Working metallics into your designs will also work with trending themes.

These predictions tie in with the identified manufacturing trends towards environmental consciousness with a focus on recyclable product and developments in technology, allowing for new materials to be developed and current materials produced in better ways.

As a textile designer it is important to stay informed on the design and manufacturing trends affecting the industry so as to position yourself successfully in this competitive field. Research where to ethically source your materials and fabrics, and where possible push for Australian made.

It is also important to know your target market and design for them, keeping in mind that their preferences are likely to be influenced by what is popular at the time and their own environments.

Samara Cook

recycledinteriorsorg/2014/07/31/trends

www.completehome.com.

(C) Orchid-Angela Mitchell

Beyond Graphic Design