Leah Wild

Advertising Agency: TBWA\PARIS, France
Executive Creative Director / Creative Director: Erik Vervroegen
Copywriter: Nicolas Roncerel
Art Directors: Caroline Khelif, Leopold Billard, Julien Conter
Account Supervisor : Laurent Lilti

Notes:

Anthony Smith from Music

entertaining business card, actually printed on recycled vinyl, it becomes a talking point... they actually made the card before naming the company, their company name comes form the fact that when they were talking, when the subject of music and bands came up, thats when they became most animated and passionate..


did a HND in '89 at Bolton College.. graduated in a recession too.. he was then at Tucker, Clarke, Williams for 5-6 years

then London and then owned his own company altho not that successful.. did a bit of freelancing
bout 18months ago.. a friend asked if he wanted to start up a company back in manchester and that's what Music is..

his lecture included;
1. how he first got a job, times were rough for him too
2. how they set up Music.. a friend from Love who still had some contacts
3. how they work.. brief - question it - some answers
4. showed some current work

it may take about a year but don't be put off - keep a focus on your aim
if you have to take on a part time job or even full time to get some money in, still keep designing, ringing up companies and writing to them
students are afterall the resource for all the new ideas.. we're cheaper and as budgets are getting cut, it's a great way for companies to save money and still get great ideas.

when at portfolio crits.. make the portfolio a presentation.. practice it so you know what to say, give them time to actually look at it. be clear what the brief was and how you answered it.

when on placements.. be helpful, positive, interested - ask questions.. being positive makes all the difference

it's still great to get ideas down on paper.. ideas and roughs - quickly get a feel for it

aim high with your ideas.. it's easier to rein it in rather than build ideas up.

something with an idea better communicates a message rather than one that's just for aesthetic reasons. people remember it more when they get it.

chester perform - film festival - makes the work digital out of film negatives.. two things combined.. old film and the word digital. the client wanted images.. you often have to compromise in this line of work.

flip flops - box ...it was a lightbulb moment, just feels so good

you can get in a bubble sometimes, it helps to get other peoplpes advice & opinions

when i asked about trying to stand out when contacting companies.. be persistant - you can tell a lot from an email - spelling can be vital... never just pester everyday, but once you keep contacting maybe every few weeks, shows that you really want it.

attention to detail is very important.

Nearly 60% of UK design consultancies employ fewer than five people, yet two of the world’s leading practitioners say 12 is the ideal number of staff to have. So, what is the best size for a design studio?

The question arose at yesterday’s Podge lunch – an annual event that this year marked Lynda Relph-Knight’s 20 years as editor of Design Week. Neville Brody and Erik Spiekermann were having one of those ’so, how are things with you?’ conversations that, right now, tend to involve much nervous touching of wood and finger-crossing. So I asked them, what do you think is the right number of people to have in a studio? Both, without hesitation, gave the same answer - 12. Why? It means you are big enough to take on major projects but small enough to stay in control: any larger and you have to start taking on the kind of work that you’d rather not do just to way the bills.

The question of how to grow (or, this year, more likely how to cut back) without undermining your business seems to be a constant problem for design studios. As we reported recently, Ian Anderson felt that one of the contributory factors to the demise of the Designers Republic was that it had grown too big and had ceased to be the company that he wanted it to be. It’s a familiar tale.

According to the Design Council, 82% of UK design studios have ten or less employees, so the prevailing view is definitely against Spiekermann and Brody. Many of the leading lights in graphics have surprisingly modest operations - Farrow, for example, is just three people, including Mark Farrow himself.

So, in these times when everyone is considering cutting staff numbers and how to re-shape their business, what is the optimum size to be?

found on the CR Blog here

Two projects for Leeds Youth Opera's production of Sweeney Todd, both designed by B&W Studio. The brochure (8) was printed black-only onto newsprint. It features illustrations by Leeds University student Nic Burrows of eight characters from the production. The loose-leaf brochures were handed out before and after the performance, as were posters (9-11), rolled to resemble barbers' poles.
Photography: Mike Feather

taken from Creative Review - The Annual (May 2006)

quite similar to Karl's Barbershop project by Glorious, an award-winning Manchester graphic design agency.

The owner of one of Manchester's last traditional gentleman's barbers wanted something special when celebrating 40
years in business.


Solution: As most customers were city professionals,
it made perfect sense to run the calendar over the financial year, utilising the red and white striped barber's pole and other iconic images to create a clean, crisp promotional item. The calendar won several awards.

The Pong Table designed by Moritz Waldemeyer. It's a part of MoMA's Design & the Elastic Mind Exhibit. This table re-creates the classic game Pong, introduced by Atari by 1972. The tabletop has 2,400 LEDs and two track pads embedded in its surface, turning the white Corian into a digital gaming borad. When the game is turned off, the integerated technology disappears.

found here

Advertising Agency: DDB, Milan, Italy
Executive Creative Director: Vicky Gitto
Art Director: Aureliano Fontana
Copywriter: Bruno Vohwinkel

found here