The kids are creative

The Ideas Foundation’s I Am Creative initiative works with schools and brands to provide live briefs to secondary school children, introducing them to the advertising industry along the way. In its latest project, E.ON asked for ideas to motivate communities to save energy

Established ten years ago, the mission of the Ideas Foundation is to increase diversity in the advertising industry by working with schools on education projects, running workshops to encourage students to consider advertising as a career and delivering work experience, internships and apprenticeships in advertising to provide a pathway to that career. I Am Creative aims to enable students to discover the creative skills and interests they never knew they had, whilst educating them about the career choices those skills offer them.

 

 

The Ideas Foundation works with brands to create a range of ‘live’ briefs (see current list here). It will then organise two sessions with participating schools. In the first, Ideas Foundation workers and volunteers from the ad industry come into the school to run brainstorming around the brief and to introduce the basics of advertising. In a second, follow-up session, the students present their ideas. A winner, or winning team, for each brief is chosen by judges from the industry. They receive £200 of high street vouchers and a place on the Ideas Foundation’s ‘progression group’ The Ladder through which they receive further information and support about the industry so that “they get a head-start to getting into the creative industries, beginning with an all-expenses paid Progression Day hosted in London”.

The E.ON brief asked students “to create a campaign to help motivate your community to save energy. Your idea can come in any shape or form. You could organise a event, poster campaign, or something completely original! It is hoped that your idea will make a real different to people’s behaviour in order to protect the planet.

“They don’t just want people to notice the campaign, E.ON want them to change the way they use energy in their daily lives as a result of your idea. You will need to think about how people’s minds work in order get them to change their behaviour. By identifying a target audience within your community you will be able to tailor your campaign to maximise your message and make a real difference to the future of the planet!”

 

The winners of the latest brief are Chelsea Jenks, Olivia Mathews, Sarah Voce and Madeline Prendergast, who are all Year 9 students (age 13/14), studying Design Technology, at the George Spencer Academy in Nottingham. Their idea proposed a human-sized hamster wheel that, once spun, would charge a mobile phone.

 

 

The hamster wheel would tour around different areas of the UK including schools, music festivals and E.ON stores, informing people about the amount of energy required to charge their phones. Their slogan ‘Spin til it Hertz’ was loved by all the judges who also commented that he students were incredibly professional in their pitch creating a short film to introduce their idea (see above), 3D drawings and a model hamster wheel to demonstrate their designs.

 

 

Runners-up were Christopher Mee, Ioana Berceanu and John Nshimiye, who are in Year 13 (age 17/18) at Nottingham Academy. They created a campaign targeted at families within which was an interactive poster asking the general public to switch off a giant switch. In doing so, the poster would reveal an interesting fact about energy consumption.

 

This group also considered how the campaign would work within the Nottingham E.ON store, designing T-shirts for staff to wear, which they handprinted for the panel of judges to see.

 

 

CR recently went along to a London school to watch an I Am Creative session in action. We will be reporting back on the project in a future issue of the magazine.

 

 

 

CR in Print
The January issue of Creative Review is all about the Money – well, almost. What do you earn? Is everyone else getting more? Do you charge enough for your work? How much would it cost to set up on your own? Is there a better way of getting paid? These and many more questions are addressed in January’s CR.

But if money’s not your thing, there’s plenty more in the issue: interviews with photographer Alexander James, designer Mirko Borsche and Professor Neville Brody. Plus, Rick Poynor on Anarchy magazine, the influence of the atomic age on comic books, Paul Belford’s art direction column, Daniel Benneworth-Gray’s This Designer’s Life column and Gordon Comstock on the collected memos, letters and assorted writings of legendary adman David Ogilvy.

Please note, CR now has a limited presence on the newsstand at WH Smith high street stores (although it can still be found in WH Smith travel branches at train stations and airports). If you cannot find a copy of CR in your town, your WH Smith store or a local independent newsagent can order it for you. You can search for your nearest stockist here. Alternatively, call us on 020 7970 4878, or buy a copy direct from us. Based outside the UK? Simply call +44(0)207 970 4878 to find your nearest stockist. Better yet, subscribe to CR for a year here and save yourself almost 30% on the printed magazine.

CR for the iPad
Read in-depth features and analysis plus exclusive iPad-only content in the Creative Review iPad App. Longer, more in-depth features than we run on the blog, portfolios of great, full-screen images and hi-res video. If the blog is about news, comment and debate, the iPad is about inspiration, viewing and reading. As well as providing exclusive, iPad-only content, the app will also update with new content throughout each month.

WWF’s new iPad app

Studio AKQA has designed a new iPad app for the World Wildlife Fund (WWF) that allows users to explore images, facts and footage of some of the rarest animals on the planet…

The app, entitled Together, provides a playful interactive experience in which users can explore the stories of eight different animal species: pandas, tigers, elephants, marine turtles, bison, snow leopards, polar bears and whales.

For each animal featured (the idea is that more species are added regularly) there is editorial content, beautiful photography, high def videos, unusual facts and even downloadable origami animal templates. The origami theme extends to a distinctly paper-folded look interactive globe users can use to find out how far (or close) they are to the animals explored in the app, and check out various statistics:

There’s some nice features that take advantage of the iPad’s capabilities and functionality. For example, in the Polar Bear section an onscreen graphic invites the user to gently tilt the screen until a dot travels to the centre of the screen.

Only if you can keep the dot in the centre of the screen for five seconds does a fact about Polar bears keeping still for hours to catch a seal coming out of an air hole in the ice. The Panda section has a nice interactive timeline with which users can chart the evolution of the WWF logo.

It’s a beautiful and intuitive app to use and explore – here it is in action:

Designed and developed by AKQA with photography by Morten Koldby.

More info about Together, here

CR in Print
The January issue of Creative Review is all about the Money – well, almost. What do you earn? Is everyone else getting more? Do you charge enough for your work? How much would it cost to set up on your own? Is there a better way of getting paid? These and many more questions are addressed in January’s CR.

But if money’s not your thing, there’s plenty more in the issue: interviews with photographer Alexander James, designer Mirko Borsche and Professor Neville Brody. Plus, Rick Poynor on Anarchy magazine, the influence of the atomic age on comic books, Paul Belford’s art direction column, Daniel Benneworth-Gray’s This Designer’s Life column and Gordon Comstock on the collected memos, letters and assorted writings of legendary adman David Ogilvy.

Please note, CR now has a limited presence on the newsstand at WH Smith high street stores (although it can still be found in WH Smith travel branches at train stations and airports). If you cannot find a copy of CR in your town, your WH Smith store or a local independent newsagent can order it for you. You can search for your nearest stockist here. Alternatively, call us on 020 7970 4878 to buy a copy direct from us. Based outside the UK? Simply call +44(0)207 970 4878 to find your nearest stockist. Better yet, subscribe to CR for a year here and save yourself almost 30% on the printed magazine.

CR for the iPad
Read in-depth features and analysis plus exclusive iPad-only content in the Creative Review iPad App. Longer, more in-depth features than we run on the blog, portfolios of great, full-screen images and hi-res video. If the blog is about news, comment and debate, the iPad is about inspiration, viewing and reading. As well as providing exclusive, iPad-only content, the app will also update with new content throughout each month.

Designs of the Year 2013 – a (very long) shortlist revealed

Olympic Cauldron by Heatherwick Studio

The Design Museum has announced the contenders for the 2013 Designs of the Year competition in a diverse line-up of more than 90 project.

Within the categoriesof architecture, digital, fashion, furniture, graphics, product and transport, the museum once again rounds up diverse work, ranging from the Olympic Cauldron by Heatherwick Studio, The Shard by Renzo Piano and MakerBot’s fourth-generation 3D printer, Replicator 2, to the Exhibition Road redevelopment project and Random International’s Rain Room installation.

Rain Room by Random International

Other projects joining Rain Room in the digital category include the Windows Phone 8 operating system, the new Gov.uk website designed by Government Digital Service and the Rasberry Pi computer by Eben Upton.

The Government’s new online portal, Gov.uk

The graphics selection features 15 entries, including A Practice for Everyday LIfe’s design for Barbican exhibition ‘Bauhaus: Art as Life’, the Occupied Times of London by Tzortzis Rallis and Lazaros Kakoulidis (you can read Mark’s interview with the former here) and the new Australian cigarette packaging, the new graphic identity for all cigarette packs in the country.

Occupied Times by Tzortzis Rallis and Lazaros Kakoulidis

Installation and invitation graphics for Bauhaus:Art as Life exhibition, by A Practice for Everyday Life, commissioned by the Barbican

Also in the graphics category is Gentlewoman #6, designed by Veronica Ditting, while annual reports on the list include Brighten the Corners and Anish Kapoor’s creation for Zumtobel and Serviceplan’s design for Austria Solar Annual Report.

Zumtobel Annual Report by Brighten the Corners and Anish Kapoor

The Design Museum exhibition of all work will run from March 20 to July 7, with the winners from each category and one overall winner to be announced in April. The full list of contenders is below, providing a substantial, if by necessity limited snapshot of the best of global design in 2012.

As always we look forward to hearing your thoughts on what might be glaringly obvious in its omission, or what shouldn’t have made the list at all.

ARCHITECTURE
LA TOUR BOIS-LE-PRETRE, PARIS by Druot, Lacaton and Vassal
CLAPHAM LIBRARY, LONDON by Studio Egret West
MOCA (Museum of Contemporary Art), CLEVELAND by Farshid Moussavi Architects
METROPOLITAN ARTS CENTRE, BELFAST by Hackett Hall McKnight
A ROOM FOR LONDON by David Kohn Architects in collaboration with artist Fiona Banner
KUKJE ART CENTER, SEOUL by SO-IL
IKEA DISOBEDIENTS by Andrés Jaque Arquitectos
BOOK MOUNTAIN, SPIJKENISSE by MVRDV
THE SHARD, LONDON by Renzo Piano
THALIA THEATRE, LISBON by Gonçalo Byrne Arquitectos & Barbas Lopes Arquitectos
ASTLEY CASTLE, WARWICKSHIRE by Witherford Watson Mann
MUSEUM OF INNOCENCE, ISTANBUL by Orhan Pamuk with Ihsan Bilgin, Cem Yucel and Gregor Sunder Plassmann
HOME FOR ALL by Akihisa Hirata, Sou Fujimoto, Kumiko Inui and Toyo Ito
T-SITE, TOKYO by Klein Dytham
GALAXY SOHO, BEIJING by Zaha Hadid
SUPERKILEN, NØRREBRO by BIG, TOPOTEK1 andSuperflex
FOUR FREEDOMS PARK, NEW YORK by Louis Kahn

DIGITAL
Rain Room by Random International
SUPERSTITIOUS FUND PROJECT by Shing Tat Chung
RASPBERRY PI COMPUTER by Eben Upton
ENGLISH HEDGEROW PLATE by Andrew Tanner andUnanico for Royal Winton
DIGITAL POSTCARD AND PLAYER by Uniform
WINDOWS PHONE 8 by Microsoft
GOV.UK WEBSITE by Government Digital Service
ZOMBIES, RUN! APP by Six to Start
FREE UNIVERSAL CONSTRUCTION KIT by Free Art and Technology Lab
WIND MAP by Martin Wattenberg and Fernanda Bertini Viegas
CANDLES IN THE WIND by Moritz Waldemeyer for Ingo Maurer
CHIRP by Patrick Bergel
DASHILAR APP by Nippon Design Centre
CITY TRACKING pt2 by Stamen
LIGHT FIELD CAMERA by Lytro

FASHION
ANNA KARENINA COSTUMES by Jacqueline Durran
A/W12 WOMENSWEAR by Giles Deacon
LOUIS VUITTON COLLECTION by Yayoi Kusama
DIANA VREELAND: THE EYE HAS TO TRAVEL by Lisa Immordino
I WANT MUSCLE by Elisha Smith-Leverock
AW12 COLLECTION by Craig Green
COMMES DE GARCONS RTW A/W12 by Rei Kawakubo
CHRISTIAN DIOR RTW S/S13 by Raf Simons
PRADA S/S12 RTW COLLECTION by Miuccia Prada
PROENZA SCHOULER A/W12 COLLECTION by LazaroHernandez and Jack McCollough

FURNITURE
THE SEA CHAIR by Studio Swine & Kieren Jones
LIQUID GLACIAL TABLE by Zaha Hadid
A-COLLECTION by Ronan and Erwan Bourellec for Hay
GRAVITY STOOL by Jolan Van Der Wiel
WELL PROVEN CHAIR by James Shaw and Marjan van Aubel
TIÉ PAPER CHAIR by Pinwu
100 CHAIRS by Marni
MEDICI CHAIR by Konstantin Grcic for Mattiazzi
RE-IMAGINED CHAIRS by Studiomama (Nina Tolstrup and Jack Mama)
ENGINEERING TEMPORALITY by Studio Markunpoika
CORNICHES by Ronan and Erwan Bouroullec for Vitra
FUTURE PRIMITIVES by Muller Van Severen

GRAPHICS
ZUMTOBEL ANNUAL REPORT by Brighten the Corners and Anish Kapoor
BAUHAUS: ART AS LIFE EXHIBITION by A Practice For Everyday Life
STRELKA IDENTITY by OK:RM
OCCUPIED TIMES OF LONDON by Tzortzis Rallis and Lazaros Kakoulidis
THE GENTLEWOMAN #6 by Veronica Ditting
AUSTRIA SOLAR ANNUAL REPORT by Serviceplan
RIJKSMUSEUM IDENTITY by Irma Boom
ADAM THIRWELL: KAPOW! by Studio Frith
ORGANIC by Kapitza
DOC LISBOA ’12 by Pedro Nora
RALPH ELLISON COLLECTION by Cordon Webb
VENICE ARCHITECTURE BIENNALE IDENTITY by John Morgan
DEKHO: CONVERSATIONS ON DESIGN IN INDIA by CoDesign
MADE IN LOS ANGELES: WORK BY COLBY POSTER PRINTING CO by Anthony Burrill
AUSTRALIAN CIGARETTE PACKAGING – commissioned by Australian Government Department for Health and Ageing

PRODUCT
OLYMPIC CAULDRON by Heatherwick Studio
BANG & OLUFSEN ‘BEOLIT 12′ by Cecile Manz
LIQUIGLIDE KETCHUP BOTTLE by Dave Smith/Varanasi Research Group MIT
COLOUR PORCELAIN by Scholten & Baijings/1616 Arita Japan
E-SOURCE by Hal Watts
LITTLE PRINTER by Berg
SWITCH COLLECTION by Inga Sempe for Legrand
PAPA FOXTROT TOYS by PostlerFerguson
CHILD VISION GLASSES by The Centre for Vision in the Developing World
w127 LAMP by Dirk Winkel
PLUG LAMP by Form Us With Love
REPLICATOR 2 by MakerBot
MAGIC ARMS by duPont Hospital for Children
KIOSK 2.0 by Unfold Studio
OIGEN KITCHENWARE by Jasper Morrison/Japan Creative
TEKIO by Anthony Dickens
LITTLE SUN by Olafur Eliasson
COLALIFE by Simon Berry
FEDERIC MALLE TRAVEL SPRAYS by Pierre Hardy
FACETURE VASES by Phil Cuttance
SURFACE TENSION LAMP by Front
FLYKNIT TRAINERS by Nike

TRANSPORT
MORPH FOLDING WHEEL by Vitamins Design/Maddak
AIR ACCESS SEAT by Priestmangoode
i3 CONCEPT CAR by BMW
MANDO FOOTLOOSE CHAINLESS BICYCLE by Mark Sanders
N-ONE by Honda
DONKY BICYCLE by Ben Wilson
EXHIBITION ROAD by Dixon Jones/ The Royal Borough of Kensington and Chelsea
OLYMPICS WAYFARING by TfL/JEDCO/LOCOG

CR in Print
The January issue of Creative Review is all about the Money – well, almost. What do you earn? Is everyone else getting more? Do you charge enough for your work? How much would it cost to set up on your own? Is there a better way of getting paid? These and many more questions are addressed in January’s CR.

But if money’s not your thing, there’s plenty more in the issue: interviews with photographer Alexander James, designer Mirko Borsche and Professor Neville Brody. Plus, Rick Poynor on Anarchy magazine, the influence of the atomic age on comic books, Paul Belford’s art direction column, Daniel Benneworth-Gray’s This Designer’s Life column and Gordon Comstock on the collected memos, letters and assorted writings of legendary adman David Ogilvy.

Please note, CR now has a limited presence on the newsstand at WH Smith high street stores (although it can still be found in WH Smith travel branches at train stations and airports). If you cannot find a copy of CR in your town, your WH Smith store or a local independent newsagent can order it for you. You can search for your nearest stockist here. Alternatively, call us on 020 7970 4878 to buy a copy direct from us. Based outside the UK? Simply call +44(0)207 970 4878 to find your nearest stockist. Better yet, subscribe to CR for a year here and save yourself almost 30% on the printed magazine.

CR for the iPad
Read in-depth features and analysis plus exclusive iPad-only content in the Creative Review iPad App. Longer, more in-depth features than we run on the blog, portfolios of great, full-screen images and hi-res video. If the blog is about news, comment and debate, the iPad is about inspiration, viewing and reading. As well as providing exclusive, iPad-only content, the app will also update with new content throughout each month.

David Bowie’s website goes through some Ch-ch-changes

David Bowie has launched a new website, designed by Jonathan Barnbrook, to coincide with the announcement of a new single and album, The Next Day.

Exciting things are afoot at davidbowie.com, with the announcement of a new album to be released in March, and a new track and video, Where Are We Now, streaming on the website.

The new davidbowie.com adopts a relatively minimal, streamlined approach, with the site divided into straightforward, easily accessible sections, organised by a header bar. There’s a lengthy David Bowie biography to be read through, as well as selected videos from the Bowie archive to peruse. Bowie’s previous website was ten years old – ancient in internet years – so Barnbrook’s work has been a complete overhaul of what was previously there.

Barnbrook explains, “We wanted to give it a completely different tone from before. This comes from Bowie being somewhat quieter. People have had the chance to be a bit more thoughtful and reflective understanding his positioning in the history of music, and it would be disingenuous to pretend he is the new rocker in town, so the site reflects that. When you are someone like David Bowie, you don’t need to shout. We wanted it to be a more definitive place to get Bowie’s creative output.”

Whilst working on the site Barnbrook had to maintain absolute secrecy, even taking phone conversations on the street so the people he worked with didn’t suspect anything.

Barnbrook also worked on the cover design for Bowie’s new album, The Next Day, which reinvents the classic Heroes album artwork.

Barnbrook explains that the reappropriation of the Heroes artwork was an attempt to create something entirely new, he says, “Normally using an image from the past means, ‘recycle’ or ‘greatest hits’ but here we are referring to the title The Next Day. The “Heroes” cover obscured by the white square is about the spirit of great pop or rock music which is ‘of the moment’, forgetting or obliterating the past.”

“If you are going to subvert an album by David Bowie there are many to choose from but this is one of his most revered, it had to be an image that would really jar if it were subverted in some way and we thought “Heroes” worked best on all counts.” he says. The album is also the first use of new font Doctrine, which will be released in the next few weeks at VirusFonts. Barnbrook has written more about the work on and decisions behind the The Next Day artwork over in this blogpost.

If a new website and album aren’t enough, the Bowie extravaganza will continue in March with a new Bowie exhibition at the V&A, entitled David Bowie is. The exhibition dives into the Bowie archive to select more than 300 objects for public viewing, including photography, set designs, costumes and hand-written lyrics. The V&A also promise access to never-before-seen storyboards, set lists and lyrics, alongside sketches and diary entries from the man himself. The exhibition will be at the V&A from March 23 – July 28. Check back into the CR blog nearer the time for more details.

CR in Print
The January issue of Creative Review is all about the Money – well, almost. What do you earn? Is everyone else getting more? Do you charge enough for your work? How much would it cost to set up on your own? Is there a better way of getting paid? These and many more questions are addressed in January’s CR.

But if money’s not your thing, there’s plenty more in the issue: interviews with photographer Alexander James, designer Mirko Borsche and Professor Neville Brody. Plus, Rick Poynor on Anarchy magazine, the influence of the atomic age on comic books, Paul Belford’s art direction column, Daniel Benneworth-Gray’s This Designer’s Life column and Gordon Comstock on the collected memos, letters and assorted writings of legendary adman David Ogilvy.

Please note, CR now has a limited presence on the newsstand at WH Smith high street stores (although it can still be found in WH Smith travel branches at train stations and airports). If you cannot find a copy of CR in your town, your WH Smith store or a local independent newsagent can order it for you. You can search for your nearest stockist here. Alternatively, call us on 020 7970 4878 to buy a copy direct from us. Based outside the UK? Simply call +44(0)207 970 4878 to find your nearest stockist. Better yet, subscribe to CR for a year here and save yourself almost 30% on the printed magazine.

CR for the iPad
Read in-depth features and analysis plus exclusive iPad-only content in the Creative Review iPad App. Longer, more in-depth features than we run on the blog, portfolios of great, full-screen images and hi-res video. If the blog is about news, comment and debate, the iPad is about inspiration, viewing and reading. As well as providing exclusive, iPad-only content, the app will also update with new content throughout each month. Try a free sample issue here

Metal. Proper metal

Compressorhead, a new hard rock three piece whose covers are garnering praise on YouTube, look set to take Australia by storm in a few weeks’ time. They’re pretty tight, too, but being a band of robot musicians (with a four-armed drummer) you wouldn’t expect timing to be an issue…

According to compressorheadband.com, the group – Fingers (guitar), Stickboy (drums) and Bones (bass) – are “the world’s heaviest metal band.” In as much as their setlist reflects this – Motörhead, Black Sabbath, Pantera et al – so does their combined weight which is, apparently, six tonnes.

And by the looks of things, this is no elaborate hoax, or the beginnings of an ad campaign for a new metal website. (If it is, it’s been very well put together.)

Each of the robots appears to have been built by a different team – the 78-fingered guitarist by a German team at Kernschrott (details on his or her construction, here); while the four-armed Stickboy is the creation of by Frank Barnes at Robocross Machines. Backstory on Bones, the enigmatic bassist, has proven hard to find though – he only joined last year.

So if motorik-style drumming and some heavy chordage is your thing, then keep an eye on the band’s schedule. They play the touring Big Day Out festival in Australia, which takes in Sydney, Gold Coast, Adelaide, Melbourne, and Perth from January 18. More at bigdayout.com.

A couple of further clips of the band covering Pantera and, we think, Helmet’s Unsung, below. More at compressorheadband.com/media.

 

CR in Print
The January issue of Creative Review is all about the Money – well, almost. What do you earn? Is everyone else getting more? Do you charge enough for your work? How much would it cost to set up on your own? Is there a better way of getting paid? These and many more questions are addressed in January’s CR.

But if money’s not your thing, there’s plenty more in the issue: interviews with photographer Alexander James, designer Mirko Borsche and Professor Neville Brody. Plus, Rick Poynor on Anarchy magazine, the influence of the atomic age on comic books, Paul Belford’s art direction column, Daniel Benneworth-Gray’s This Designer’s Life column and Gordon Comstock on the collected memos, letters and assorted writings of legendary adman David Ogilvy.

Please note, CR now has a limited presence on the newsstand at WH Smith high street stores (although it can still be found in WH Smith travel branches at train stations and airports). If you cannot find a copy of CR in your town, your WH Smith store or a local independent newsagent can order it for you. You can search for your nearest stockist here. Alternatively, call us on 020 7970 4878 to buy a copy direct from us. Based outside the UK? Simply call +44(0)207 970 4878 to find your nearest stockist. Better yet, subscribe to CR for a year here and save yourself almost 30% on the printed magazine.

CR for the iPad
Read in-depth features and analysis plus exclusive iPad-only content in the Creative Review iPad App. Longer, more in-depth features than we run on the blog, portfolios of great, full-screen images and hi-res video. If the blog is about news, comment and debate, the iPad is about inspiration, viewing and reading. As well as providing exclusive, iPad-only content, the app will also update with new content throughout each month. Try a free sample issue here

First Look: Samsung NX300 and 45mm 2D/3D Lens: Hands-on with Samsung’s mirrorless wonder

First Look: Samsung NX300 and 45mm 2D/3D Lens

We got a first look at the just-announced Samsung NX300 today, a high-end consumer camera that, when paired with Samsung’s new 45mm f1.8 2D/3D lens, becomes the company’s first 3D-capable mirrorless “smart” camera. Building on the success of the NX series, the NX300 incorporates Wi-Fi connectivity for instant sharing…

Continue Reading…

On the money

Are designers badly paid? How much should you charge? What do ad agency creative directors earn? Could you earn more abroad? Our January issue tackles these and other cash-related questions. Here, we share some of the key findings of the research we conducted for the issue

 

Info graphic from our January issue


First up, to provide context, a snapshot of the UK design industry. According to the Design Council’s last comprehensive survey (conducted in 2010), there were 232,000 designers in the UK. While you are reeling from that figure, we should point out that this is an incredible 29% increase from 2005. By now (the survey was done in 2010 remember) it’s safe to assume that figure has swelled considerably.

 

 

What do they all do?
That same Design Council Survey breaks the 232,000 figure down as follows:
Freelance designers: 65,900 (28%)
In design consultancies 82,500 (36%)
In-house 83,600 (36%)

 

How much does UK design earn?
Again, according to the Design Council, total fee income for UK design in 2010 was £15bn. Which breaks down as:
Design consultancy fees £7.6bn
Freelancers’ fee income £3.6bn
In-house budgets £3.8bn

 

The £15bn figure sounds impressive and there are some major businesse involved, but not many. In fact, the UK design industry is mostly made up of very small businesses. Almost half UK design studios have annual revenues of less than £50,000. Only 6% generate more than £500,000 per year.

 

How much do UK design businesses earn?
Source: Design Council Survey, 2010
Annual revenue for UK design consultancies, 2010
£2m+ 2%
£1m-£2m 1%
£500k-£1m 3%
£250k-£500k 5%
£100k-£250k 17%
£50k-£100k 24%
Less than £50k 49%

This has a knock-on effect when it comes to the design industry’s ablity to act in its own interests – we are talking about a diffuse, diverse industry with constituents who individually have relatively little money to spend on, for example, subscriptions to industry bodies, training and professional development and so on.

But not all design businesses are small or poor. Each year accounting firm Kingston Smith W1 conducts research into the top 30 UK design firms. Together, last year, they brought in £311m in gross income. Imagination brought in the most money with a gross income of just over £46m in the year ending August 2011. It also had the highest number of employees of the top 30 – 430.

Of the Kingston Smith Top 30, Venturethree had the highest gross income per head at £167,659. It was also the most profitable per head, recording £46,585 operating profit for each employee.

 

What about pay?

Are you earning the right amount?
Major Players 2012 salary survey worked out average national UK salaries for 2012 across a range of job titles in design and branding:
Junior designer: £21,000
Midweight designer: £30,000
Senior designer: £40,000
Design director: £55,000

NB: the figures for junior, senior and design director posts above have been updated as the previous figures were misquoted and relate only to integrated agency salaries. Apologies for the confusion


Pay varies only slightly according to sector

The Design Week 2011 salary survey revealed that designers in print graphics earned on average the least, with packaging, exhibition, interiors and branding higher, but not by more than 10%. More significantly, those working in the digital sector outside London were the big winners in that particular survey, earning a 19% average pay increase on the previous year. On average, designers in London were earning 10-15% more than those outside the capital.

 

Graphic design as the poor relation
The 2011 Coroflot design salary guide compared average US salaries across architecture, design management, fashion and apparel, graphic design, industrial design, interaction design and interior design from 2006 to 2011. Graphic design had the lowest average salary of all ($53,500 (£33,500)), with design management the highest ($95,000 (£60,000)). Graphic design salaries had gone down on average by nearly 2% in the period

 

Do US designers earn more?
The Creative Group, Paylandia 2013 survey worked out national average US design salaries by experience for 2012

Graphic designer
1 to 3 years $37,250 (£23,500) to $53,000 (£33,000)
3 to 5 years $48,750 (£30,500) to $68,000 (£43,000)
5+ years $61,000 (£38,000) to $83,250 (£52,000)

Web designer
1 to 5 years $52,000 (£33,000) to $76,500 (£48,000)
5 years + $74,750 (£47,000) to $103,750 (£65,000)

Creative director
5 to 8 years $89,500 (£56,000) to $124,500 (£78,000)
8+ years $97,250 (£61,000) to $169,500 (£106,000)

 

While these figures come from the AIGA/Aquent 2012 salary survey:

National US median average for designer in print: $45,000 (£28,000)
National US median average for designer in web/interactive: $55,000 (£35,000
National US median average for creative/design director: $100,000 (£63,000)

 

The New York premium
In the US, location matters. Thus, a graphic designer with 3 to 5 years experience in New York City can expect to be on between $68,700 (£43,100) and $95,800 (£60,100) while someone doing the same job with the same experience in Memphis will be on between $46,300 (£29,000) and $64,600 (£40,500). Source: Paylandia 2013 survey. Note: As Prescott Perez-Fox notes in the comments below, those figures seem high. The AIGA/Aquent Survey (link above) comes out with an average of around $50,000 for a NY print designer which seems closer to the mark.

Should I move to Australia? Can I earn more there?
Not necessarily. These figures are from the AGDA 2010 survey
Australia national average annual design salaries:
Solo designer A$57,000 (£37,000)
Owner, partner, principal A$106,800 (£69,500)
Creative director A$105,800 (£69,000)
Senior designer A$69,700 (£45,500)
Intermediate designer A$49,600 (£32,300)
Entry-level designer A$40,100 (£26,000)

 

I feel like I’m badly paid: how does design compare to other professions?

Designers often feel like they are badly paid compared to other professions, so we looked at some comparable careers.

Architecture
Source: Adrem Architecture Salary Guide 2012
National UK average salaries
Recently qualified architect (0-3 years experience) £33,000
Project architect (3-5 years experience) £38,000
Senior archtect £45,000
Associate director/project director £60,000

Journalism (source Prospects/NUJ)
National UK average salaries
Starting salary (trainee reporter) £12,000 – £15,000
Junior £15,000 – £24,000
Senior £22,000 – £39,000
Editor £50,000 – £85,000 on magazines/regional newspapers. National papers and large consumer magazines will be considerably more

Marketing (source: Marketing Week/Ball & Hoolahan Salary Survey 2012)
National UK average salaries
Graduate trainee £21,000
Digital marketing manager £37,000
Brand/product manager £36,000

 


Can I earn more as a freelancer?
Possibly. Here are the average UK design daily freelance rates (per 8-hour day) according to the Major Players Salary Survey 2012

Junior designer: £100
Midweight: £130
Senior: £250
Design director: £275

NB: the figures for junior, senior and design director posts above have been updated as the previous figures were misquoted and relate only to integrated agency rates. Apologies for the confusion


How does this compare around the world?
Source: 2011 Colorflot design salary guide
Current average graphic design hourly freelance rate in UK: £20
Current average graphic design hourly freelance rate in the US: $30 (£19)
Current average graphic design hourly frelance rate in India: R295 (£3.40)
Current average graphic design hourly freelance rate in Germany: €24 (£20)
Current average graphic design hourly freelance rate in Australia: A$29 (£19)
Current average graphic design hourly freelance rate in Canada: C$30 (£19)

 

What’s the most I could earn?
The Kingston Smith top 30 pulls out the highest earning directors in each firm. Top of the list is Checkland Kindleysides where one (unidentified) director earned £1,745,000 in the year ending April 2011. There were high earners too at Futurebrand, where someone earned £584,000 in 2011, Design Bridge (highest director pay £483,000) and The Partners (highest director pay £380,000). Someone at Wolff Olins earned £302,000 while the most Lambie-Nairn paid one of its directors was £295,000.

 


What is my time worth/What should we charge?
If you are working in a design studio, your time will be charged out to clients at an hourly or daily rate. The Design Business Association worked out average hourly charge-out rates for UK design businesses in various sectors in its 2012 DBA Charge Out Rates and Salary Review (supported by co.efficient). Because different roles command different rates, the DBA survey is based on an average across four job titles – Principal / proprietor; Account / Client handler; Senior Designer; Mac operator. Here are the figures:

Advertising: £93
Corporate identity/Branding: £103
Digital: £103
Exhibitions stands/Displays: £105
Retail/Interior/Experiential Design: £105
Literature/Print: £92
Packaging: £95
Point of Sale: £95
Product/Industrial/Strategic: £121

 

How does that compare to advertising?

Does design undercharge for its services compared to ther creative industries? Unfortunately we were unable to obtain figures for UK ad agency charge-out rates. However, our coleagues at Econsultancy conduct a digital agency rate card survey. So, for 2011 here are the UK average daily charge-out rates for digital agencies by job title

Director/partner £891
Senior designer/creative £744
Group acount director £746
Midweight designer £611
Animator £598
Illustrator £559
Copywriter £541
Junior designer/creative £494

Which gives an average across all job titles of £648. Assume a 7-hour day and that is an average of £92.50 an hour, so many design studios appear to be charging more for their time that digital ad agencies.

 

What does a Mad Man (or Woman) cost?
Although we had no data for UK ad agency charge-out rates, the 4A’s in the US did share data with us from their 2011 Billing Rate Survey.

There is a great disparity in the US between the rates charged by large and small ad agencies. A Chief Creative Director in an agency with 50 or fewer employees bills, on average, $277 an hour for their time to clients. For an agency with over 500 employees, that figure goes up to $776 an hour.

Agencies in New York charge the most. Average hourly billing rates for a mid-range New York agency in 2011 were:
Chief creative director: $590
Creative director: $326
Art director: $141
Assistant art director: $90

 

Do bigger agencies charge more in the UK?
We have no figures for ad agencies in general but digital agencies certainly do. The Econsultancy digital agency rate card survey 2011 compared charge-out rates to the size of an agency by turnover

Director/partner
£0-£1m £685
£1m-£5m £1,024
£5m+ £1,351

Junior designer/creative
£0-£1m £430
£1m-£5m £533
£5m+ £587

 

Do London agencies charge more?
Again, our source is the Econsultancy digital agency rate card survey 2011, which compares digital agency charge-out rates by region

Director/partner
London: £1,030
South-East £865
Non South East £777

 

Hopefully, all that has proved useful, or at least interesting. There’s plenty more, plus articles on setting up a studio, how to tell if you are in financial trouble, day-rates versus project fees and much more in our January issue, details below.

 

All graphics shown here were created for CR’s January issue by Mark McLure and Caroline Leprovost of the Guardian Digital Agency

 

CR in Print
The January issue of Creative Review is all about the Money – well, almost. What do you earn? Is everyone else getting more? Do you charge enough for your work? How much would it cost to set up on your own? Is there a better way of getting paid? These and many more questions are addressed in January’s CR.

But if money’s not your thing, there’s plenty more in the issue: interviews with photographer Alexander James, designer Mirko Borsche and Professor Neville Brody. Plus, Rick Poynor on Anarchy magazine, the influence of the atomic age on comic books, Paul Belford’s art direction column, Daniel Benneworth-Gray’s This Designer’s Life column and Gordon Comstock on the collected memos, letters and assorted writings of legendary adman David Ogilvy.

Please note, CR now has a limited presence on the newsstand at WH Smith high street stores (although it can still be found in WH Smith travel branches at train stations and airports). If you cannot find a copy of CR in your town, your WH Smith store or a local independent newsagent can order it for you. You can search for your nearest stockist here. Alternatively, call us on 020 7970 4878 to buy a copy direct from us. Based outside the UK? Simply call +44(0)207 970 4878 to find your nearest stockist. Better yet, subscribe to CR for a year here and save yourself almost 30% on the printed magazine.

CR for the iPad
Read in-depth features and analysis plus exclusive iPad-only content in the Creative Review iPad App. Longer, more in-depth features than we run on the blog, portfolios of great, full-screen images and hi-res video. If the blog is about news, comment and debate, the iPad is about inspiration, viewing and reading. As well as providing exclusive, iPad-only content, the app will also update with new content throughout each month. Try a free sample issue here

Christmas in the Hi-ReS! kitchen

If you haven’t yet visited the Hi-ReS! interactive kitchen wall from the comfort of your own desk, then the studio’s special Christmas instalment also offers the perfect chance to check out the artists who have participated in the project to date…

Since last year, the London-based studio has been inviting creatives into the office to create something special on the chalkboard walls of its kitchen.

In October 2011 Estonian illustrator, Triinu Lille (above and below), drew a forest for a piece entitled Listen, while the following month saw artist Céli Lee create An Unconscious Walk – more of an intricate three-dimensional experience. This October, illustrator and filmmaker Johannes Helgelin unleashed his drawing, A Bottle of Worms, on the unsuspecting blackboard.

The creation of each piece is filmed and shown online as the launch event. Now, all the projects have been uploaded and the gestation of each one can be viewed in a kind of scrollable timelapse film. Visitors can whizz the action back and forth using the mouse – or the up and down arrow keys – and, stopping at any point in the artwork’s creation, the image will settle into a sharper picture (viewers can also move the size the film window accordingly).

For Christmas 2012, chalk was handed out amongst the studio’s own illustrative talent – and the results can be seen in the Merry Festivus compilation at kitchen.hi-res.net.

CR in Print
The January issue of Creative Review is all about the Money – well, almost. What do you earn? Is everyone else getting more? Do you charge enough for your work? How much would it cost to set up on your own? Is there a better way of getting paid? These and many more questions are addressed in January’s CR.

But if money’s not your thing, there’s plenty more in the issue: interviews with photographer Alexander James, designer Mirko Borsche and Professor Neville Brody. Plus, Rick Poynor on Anarchy magazine, the influence of the atomic age on comic books, Paul Belford’s art direction column, Daniel Benneworth-Gray’s This Designer’s Life column and Gordon Comstock on the collected memos, letters and assorted writings of legendary adman David Ogilvy.

Please note, CR now has a limited presence on the newsstand at WH Smith high street stores (although it can still be found in WH Smith travel branches at train stations and airports). If you cannot find a copy of CR in your town, your WH Smith store or a local independent newsagent can order it for you. You can search for your nearest stockist here. Alternatively, call us on 020 7970 4878 to buy a copy direct from us. Based outside the UK? Simply call +44(0)207 970 4878 to find your nearest stockist. Better yet, subscribe to CR for a year here and save yourself almost 30% on the printed magazine.

CR for the iPad
Read in-depth features and analysis plus exclusive iPad-only content in the Creative Review iPad App. Longer, more in-depth features than we run on the blog, portfolios of great, full-screen images and hi-res video. If the blog is about news, comment and debate, the iPad is about inspiration, viewing and reading. As well as providing exclusive, iPad-only content, the app will also update with new content throughout each month. Try a free sample issue here

INSA animates Stanley Donwood on XL offices

This is how the XL Records offices in LA now look thanks to a collaboration between UK artists Stanley Donwood and INSA to create a series of animated ‘gif-iti’ pieces for the launch of the new Atoms For Peace album…

INSA in fact painted the building four times in order to make the frames for the gif files (shown below), which make up the Hollywood Dooom project. The finished work, when viewed online, looks like this:

And the main entrance looks like this:

Here’s a close-up of the corner of the right side of the building:

As INSA writes on his blog, “I worked with Stanley’s awesome and iconic lino cut imagery of the destruction of LA, which is the [Atoms For Peace] album cover artwork”.

Commenting on thisiscolossal.com, the artist says, “My challenge was to take two very static items, a beautiful lino-cut and a less beautiful box of a building, and bring them to life. After a week of sweating in the Los Angeles late summer sun re-painting the whole building several times I got there. Animated as a continuous gif it may only live online but some would argue that is where most now live their lives.”

The result is a rather superior paint job for the XL offices, plus some mind-bending gif action in support of the Amok record, which is out in February next year. And INSA is no stranger to bending minds, as some of his previous gif creation testifies.

Artwork from Donwood’s 2006 cover for Thom Yorke’s The Eraser record also adorns the XL London office:

 

CR in Print
The January issue of Creative Review is all about the Money – well, almost. What do you earn? Is everyone else getting more? Do you charge enough for your work? How much would it cost to set up on your own? Is there a better way of getting paid? These and many more questions are addressed in January’s CR.

But if money’s not your thing, there’s plenty more in the issue: interviews with photographer Alexander James, designer Mirko Borsche and Professor Neville Brody. Plus, Rick Poynor on Anarchy magazine, the influence of the atomic age on comic books, Paul Belford’s art direction column, Daniel Benneworth-Gray’s This Designer’s Life column and Gordon Comstock on the collected memos, letters and assorted writings of legendary adman David Ogilvy.

Please note, CR now has a limited presence on the newsstand at WH Smith high street stores (although it can still be found in WH Smith travel branches at train stations and airports). If you cannot find a copy of CR in your town, your WH Smith store or a local independent newsagent can order it for you. You can search for your nearest stockist here. Alternatively, call us on 020 7970 4878 to buy a copy direct from us. Based outside the UK? Simply call +44(0)207 970 4878 to find your nearest stockist. Better yet, subscribe to CR for a year here and save yourself almost 30% on the printed magazine.

CR for the iPad
Read in-depth features and analysis plus exclusive iPad-only content in the Creative Review iPad App. Longer, more in-depth features than we run on the blog, portfolios of great, full-screen images and hi-res video. If the blog is about news, comment and debate, the iPad is about inspiration, viewing and reading. As well as providing exclusive, iPad-only content, the app will also update with new content throughout each month. Try a free sample issue here

Type City website

Currently in his final year on the BA (Hons) Graphic Communication course at the Birmingham Institute of Art and Design, Dan Cooper has created Type City, a web platform that collates documented lettering from around the UK’s cities, from shop signage to public notice signs…

As well as browsing images on the site, visitors are encouraged to submit their own photography of found lettering in urban environments by using the #typecity hashtag via Twitter and Instagram, or emailing images direct to mail@typecity.co.uk.

“Type City is part of my degree work which is all about using digital media and measuring how successful the experience is for the user,” says Cooper of the project.

“As a designer I’m passionate about typography and I wanted to be able to share these lettering finds with people,” he continues, “and also allow others to contribute to and grow the project.”

typecity.co.uk

 

CR In print

In our December issue we look at why carpets are the latest medium of choice for designers and illustrators. Plus, Does it matter if design projects are presented using fake images created using LiveSurface and the like? Mark Sinclair looks in to the issue of mocking-up. We have an extract from Craig Ward’s upcoming book Popular Lies About Graphic Design and ask why advertising has been so poor at preserving its past. Illustrators’ agents share their tips for getting seen and we interview maverick director Tony Kaye by means of his unique way with email. In Crit, Guardian economics leader writer Aditya Chakrabortty review’s Kalle Lasn’s Meme Wars and Gordon Comstock pities brands’ long-suffering social media managers. In a new column on art direction, Paul Belford deconstructs a Levi’s ad that was so wrong it was very right, plus, in his brand identity column, Michael Evamy looks at the work of Barcelona-based Mario Eskenazi. And Daniel Benneworth-Gray tackles every freelancer’s dilemma – getting work.

Our Monograph this month, for subscribers only, features the EnsaïmadART project in which Astrid Stavro and Pablo Martin invited designers from around the world to create stickers to go on the packaging of special edition packaging for Majorca’s distinctive pastry, the ensaïmada, with all profits going to a charity on the island (full story here)

Please note, CR now has a limited presence on the newsstand at WH Smith high street stores (although it can still be found in WH Smith travel branches at train stations and airports). If you cannot find a copy of CR in your town, your WH Smith store or a local independent newsagent can order it for you. You can search for your nearest stockist here. Alternatively, call us on 020 7970 4878 to buy a copy direct from us. Based outside the UK? Simply call +44(0)207 970 4878 to find your nearest stockist. Better yet, subscribe to CR for a year here and save yourself almost 30% on the printed magazine.

CR for the iPad

Read in-depth features and analysis plus exclusive iPad-only content in the Creative Review iPad App. Longer, more in-depth features than we run on the blog, portfolios of great, full-screen images and hi-res video. If the blog is about news, comment and debate, the iPad is about inspiration, viewing and reading. As well as providing exclusive, iPad-only content, the app will also update with new content throughout each month. Try a free sample issue here