ROBERT URQUHART

Just finished writing up my review of the Graphic Design Museum in Breda in the Netherlands. Some excellent work dating back to the turn of last century on display despite some disturbing plans for the future... read all about it in next months issue of Grafik, out at the end of June.

New Designers are wankers site gets go ahead

Finally! After two years of wading through a site with less than adequate facilities (despite 50,000 users a month trawling it!) Lee has got it together to build the new site - money, talent and time. He's been busy on other work - The Ovie - has finally come together and is now going to write another book on his many ups and downs.

I'm looking forward to working on it, I'm going to be providing the interviews and content, not just trying to keep the online community stable in a wonky site - as I'm currently doing!

The site is going to be built using this template by these people PHREADZ

Looks like we're all set for world domination then...

Netherlands Trip Planned & Sign A Petition

I'm planning a little cultural jaunt to my favourite place: The Netherlands, on the 3rd and 4th June.

Itinerary so far:

1.Meeting Veronica Ditting for a cup of tea

2.Going to Breda to review the Graphic Design Museum.NL for Grafik

3.Going to the Maxalot gallery

4.Catching up on all the Reitsveld Academy mayhem... the powers that be are planning to pull it down.. idiots.

"As some of you might know, the Rietveld Academy is in real danger of losing its rightful building. Due to a mix of opportunistic politics and economic interests, there is a big chance that the school will be forced to move out of the building. Don't let this happen."

Sign the petition at
http://www.rietveldforrietveld.org

Anyone got any other ideas for places for me to go?

London Design Festival Press Launch

I'm working for the London Design Festival now. Part of the plan is to make it as open as possible to get information on... This is the first step, a film of the press launch.

Future of Web

I will be reporting on the Carsonified Future of Web event for Design Taxi An excellent conference on all things web design related including Mark Boulton talking about web typography

Designers are wankers: Agony Uncle

Dear DAW,
Just a quick couple of questions:
What would you say the percentage of graphic design graduates actually work in their chosen field – Is it down to luck, a blag or talent?
I'm not sure if I've come across any kind of topic that questions whether years in design education boils down to stacking shelves or the like, or even the dole. Are design degrees now obsolete?
Sorry about this, do you get similar e-mails to this, or is it a big grey area that nobody wants to mention?

Take care and kind regards,
Great magazine.
Jack

Dear Jack,

According to the Complete University Guide, the success rate for art & design graduates getting a job in their subject is 43% after 6 months.

Want to know how much you’ll be earning? Well unfortunately you are at the bottom of the pile, it’s you, actors and Celtic studies graduates that can expect to earn no more than £16718 a year to start with, and that’s about £3,000 below the average wage.

Why bother?

Because life isn’t just about statistics and money! If you are put off by these figures then drop out now and go and do some thing more ‘profitable’.

A career in any creative industry is one of hard graft with severe unrelenting competition for work. With the rare exception, it takes years before the rewards reveal themselves. It’s a long haul.

To answer the first question about the validity of design courses:

Are design courses relevant to employers? Yes. A good course will teach you technical skills, provide you with the latest equipment, learning resources, peer support, opportunities to test out various strands of your chosen field and further your thinking and approach to life. Do college courses do this? Some do, some don’t, the more investment colleges get the more they are likely to offer: the bigger the better. Does the college you go to affect the likelihood of getting a job? Not in my experience, although the geographical location and a prestige name normally attract more interest from employers.

Does going to college get you a job? Not necessarily. A degree is not a ticket to a job. The job seeking rationale applied by arts and media graduates is sometimes misguided, in that they do not realise the severe competition for work and that there are other skills that are just as important as their degree such as hands on expereince, motivated self propelled work and enthusiam for the industry and working practices.

Media courses have multiplied like rabbits in the last 10 years. For some professions, TV especially, you will always start at the bottom of the ladder – probably as a runner – whether you are a graduate or a school leaver.

Colleges build up the importance of degrees as it validates their existence, however I would argue that education for educations sake is an important life skill.

Thirst for knowledge about the things that interest you regardless of the diploma or peer recommendation that you receive will lead to a happier life.

Because we now pay, in the UK, for our further education, there is a growing trend for the student – academic relationship to be more of a client – service provider transaction: Students expect certain results from their chosen course: Rather than just an education focused on academic pursuit, we now expect a job at the end of it. Academic institutions have had to adapt and pursue students. The resulting competition to put bums on seats – the more students you have the more money you earn – has had to be balanced with what the students expect: good career prospects and a curriculum that deals with industry focused learning.

Is this a fair relationship? No matter how good the university course is, there are many other factors – global recession, market saturation etc. That are out of their control. They can only equip students to a certain level, after that it is the responsibility of the graduate to find work. Lee’s book ‘Designers are wankers’ aims to bridge the gap between college and ‘real life’. When he wrote the book there were little or no facilities for creative students to get an education in the business side of their work. Now colleges are picking up on this.

To answer your question about whether or not this subject is talked about, I’d say yes, it’s now a burning question for all higher educational institutions.

As for the luck, blag or talent question. Hopefully it’s a mixture of all three. That’s life!

Regards,

Robert

Portsmouth Lectures 16th / 17th March

I'm down in Portsmouth on the 16th & 17th March talking to creative students at Portsmouth University in revamped version of the Fear, Paranoia & Money lectures to fit in with their unit on 'creative platforms'.
Anyone else about down there, get in touch.

Pre lecture reading (I'll add as I find...)
Article on personal branding from Design Taxi
'The brand called you' by Tom Peters
' Young Adults Naive About Their Working Future'
'Money Spinners' taken from Guardian May 2008 by Joanne Christie

A great idea...A website that matches students to paid work experience: Student Gems

Interesting add on from Moving Brands interview about E.Tautz

I went to interview Moving Brands over in Old Street as part of the research into the E.Tautz brand. This interesting foray into technology and fashion back in 2007 popped out during the interview...

The Weare project...

They say...'We set ourselves the challenge of bringing together the worlds of fashion and technology by designing a fashion item based on co-creation and social networking. We created a website where anyone could create messages and drawings and send them to a display in the Moving Brands’ window. We collected all of the images – some thoughtful, some silly, some rude - and used them to make a scarf. The scarf was then made available to buy on our website and in selected independent retailers around London. The project inspired us to set up our own fashion brand - Weare - to launch other items created by the same process.'

Interview with Lee McCormack for reprint of Designers are wankers book

I've just completed a set of interview questions for Lee McCormack (author of Designers are wankers) to answer in the latest update and reprint of his book published by Thames & Hudson. The book has been reprinted twice already since its launch in 2005 and Lee is updating it to tackle some of the issues that he's dealt with since it's release. So much has happened! Not sure when it's out in the shops... hopefully before Christmas.

Interview with Patrick Grant of Norton & Sons & Moving Brands for Grafik on the E.Tautz makeover

I'm off to interview Patrick Grant owner of Norton & Sons in Savile Row this afternoon and Moving Brands tomorrow morning on a new assignment for Grafik. They've come up with some lovely designs for Mr Grant.

Where's the harm in a little competition?

Some creative competitions are the result of a leftover media spend of incorporable campaigns aimed at you, others are straight forward businesses, some genuinely try to break through and raise standards. Exposure is the thrust and legitimising stamp of goodwill: By entering you will be guaranteed that X will judge your work, Y many will see your work and Z many will win fame , acclaim and a tasty cash prize.

What's so bad?

We often promote competitions on the Designers are wankers site, we've even held a couple. I just get a nagging feeling that competitions buy into a lazy thinking, get rich quick scheme. From the companies that dream them up, the companies that buy into the dream in order to promote their products and the punters that enter.

DISCUSS... What's your view?

U.N. 60 years of Human Rights: Individual Criminal

Zara Arashad asked me to take part in her exhibition celebrating 60 years of UN human Rights . I chose to have a pop at our lowest common denominator approach to treating every citizen like a criminal in order to maintain state approved security.
Have a look at the other contributors here

Re. Lincoln lecture: Back up!

Following on from the lecture I gave up in Lincoln at the begining of the month on fear, money and paranoia...

I found this excellent article on the PSFK website called ' Young Adults Naive About Their Working Future'
It makes some excellent points about what to expect when you graduate... READ IT!

Cut Up Collective interview will be in Feb 09 Grafik Magazine

I've just finished writing up the article on The Cut Up Collective. I went round to visit them in their studio a couple of weeks ago and it's taken some time to figure out the story. Here's a taster, the opening paragraph...

'On the surface The CutUp Collective appear to be a group of urban Andy Goldsworthies; rearranging street furniture by using the forces of advertising instead of nature. They are best known for creating beautiful imagery out of the mundane in situ, chopping up advertising hoarding content and then re configuring it and pasting it back into its original location. Their work can be found in the some of the street art capitals on the planet, they’ve been heralded by The Wooster Collective as ‘one of the most innovative street art collectives in the world and so, because of the location, the street intervention, the illegal behaviour and acclaim, they’ve rather unsurprisingly picked up the label of street artists'.

Wait until feb for the rest of it...

CutUp Collective Interview for Grafik Magazine

I've just been commissioned to write a piece on the CutUp Collective for the Feb 09 issue of Grafik Magazine. Think of any questions? What's your view?: roberturquhart@gmail.com

Lincoln Art College 3/12/08

FEAR, MONEY AND PARANOIA

I've been invited to give a lecture at 2pm at Licnoln school of Art on Wednesday 3rd December on the three subjects closest to my heart: Fear, money and paranoia. HA. I'd be interested in hearing anyones thoughts so I can put them into the talk...email me: roberturquhart@gmail.com

Starmaths reruns on TV

Do the Math... for challenged insomniacs everywhere: Channel 4 Televison is replaying every episode of Starmath at about 4 in the morning G.M.T. until Christmas... I did the SFX and editing for - including all the cringeworthy sqweaky footsteps and editing on this 10 years ago now and it still haunts... STARMATHS

Pico Optoma Projector Film

I made this short film to promote the new palm sized projector from Pico for Hot Cow. Nokia lent me a N96 mobile phone and I plugged it in and had a play. Ultimately it's a great toy but I will welcome the day when all mobiles have the technology built in. I noticed a bit of cutting out with the connection - its an old fashioned AV scart type - cables wind me up at the best of times - so the sooner this technology gets inside something that has it all built in the better... until then,this is as good as it gets.

Big Art Mob: Interview with Adam Gee, New Media Commissioner Of Channel 4

On the third anniversary of the death of Sir Eduardo Paolozzi I stood watching a pigeon eyeing up his 'Piscator' on the front concourse of Euston station. To the uninitiated, the ‘Piscator’ is the toothy cast iron lump created in homage to the long forgotten expressionist theatre director Edwin Piscator: A giant robo turd wedged between Starbucks, The Cornish Pasty Company and the homeless scots cadging for a return train fare in the squalid and unloved concrete station forecourt.

Paolozzi, a scot with Italian roots, was one of the godfathers of the Pop Art movement. A lecture given by him in 1952 at the ICA in London is widely credited as being the place where the Pop Art bubble was first floated. He was a man, whom, in his own words, enjoyed "Introducing strange fellows to each other in hostile landscapes". The front concourse at Euston is certainly a hostile landscape and I’ve definitely been called worse than a strange fellow…

Paolozzi was passionate about introducing the man on the street to art. Half monolith maker, half pop artist: An artist that illustrated Henry Ford’s bold assertion that ''History is more or less bunk.... We want to live in the present'' early on in his career and yet went on to create timeless hunks of iron.

Paolozzi was also an artist who perfectly encaptures all that was good and bad in 20th century British art: A world class innovator and yet a cosy ambassador of the state. A fine example of an artist as superstar, funded by beaurocrats for the public to stare passively at forever more.

I wondered, what is Paolozzi’s cultural legacy?

Whether or not you are a fan of Paolozzi, it is a compelling argument that the notion of Public Art is in both crisis and at a point of renaissance in Britain today. Perhaps it is the weariness of Brit Art and the arguments surrounding its worthiness, perhaps it’s the success of Anthony Gormely’s ubiquitous mini me’s popping up around Britain like Martello Towers, or his younger hipster brother in arms: Banksey; Dick Turpin meets Tony Hart; man of the people. I.e. Old fashioned showman, popping up on every street corner around the world.

I should be happy, after all, I’m an art lover, but I’m uneasy about Public Art.
I’m unsure of its relevance in an age where the notion of art as a summit of beauty and truth for all is long gone: Why do we feel the need to sponsor an artist’s work in a public domain? To me, it seems almost as if public and private institutions are defending themselves with Public Art in order to obtain certain kudos with their customers or to take the edge of the bitter taste of the reality of the situation: Sweetening the pill in Dead End Street.

It’s time to get off the train.

The fusty rabbit warren that calls its self Tottenham Court Road station holds another Paolozzi piece, a brilliantly colourful mosaic, more than 1000 sq metres in length. I loved this work as a child, I used to try and count the different colours on my way into town on school holidays. Later, in my late teens, on a suburban dosage of acid, the mural would fizz and swirl as the LSD took hold. This mural is a part of me, hard wired into my mind. Later still when I’d learnt about the man who created it, I’d wonder at his creative mind; his obsession with man and machine.

Perhaps it’s not about public versus private, it’s not about institutions or funding, it’s the simple fact: Art improves…

Since I decided to write this piece my senses have been heightened.
Like the LSD wonderland in Tottenham Court Road, suddenly public art has become even more…public, it’s beginning to jump out at me.

The writing is on the wall: Literally. A month almost to the day since I stood pondering the meaning of it all with the pigeons in Euston station, a whooping great contradiction of a show opens at the Tate Modern: Street Art. Its hippy wigs in Woolworths time; surely retrospective rather than celebration? The full turn of the wheel, where revolution becomes a loop. Cultural feedback; the current function of public art?

By now I’m stuck in a loop of my own, needing salvation but with no real prospect of finding any in the bumf churning from the printers of the Art Council publicity machine or any of the myriad of articles written either decrying (‘it’s a shocking waste of public money’) or celebrating (art as cultural / economic / environmental saviour) the current malaise.

It’s not until I stumble upon the Big Art Project that spirits begin to lift. I should have heard about this months ago… Paolozzi would be proud, it’s a mix of pop and grind. It’s a cunning blend of what Channel 4 Television does best; the educational makeover. Jamie’s Dinners, Grand Designs and now… A magic sprinkle of televisual star dust on public art.

I’d stumbled upon the Big Art Project through The Big Art Mob at the Tate Modern (not a troop of vaudevillian gangsters, but an attempt at a fully interactive, mobile phone based, living archive of public art across the British Isles, called rather predictably ‘The Big Art Map’) - You’d think one already existed but, no, (apart from The Wooster Collective, global street art documenters ) it’s taken some wonderfully lateral thinking by Adam Gee, New Media Commissioner, Factual, at Channel 4 Television to bring it all together.

Despite a fairly quiet launch and circumspect nature of the Channel,
Adam Gee and Commissioning Editor Jan Younghusband prove easy to access and are full of passion for the subject and eager to shed further light on the project which has been building for three years in collaboration with The Art Fund and, of course, the Arts Council and is yet to be broadcast as a series (Some point in November is the date given).

Speaking about the ‘Big Art Mob’ Gee relates that the project has allowed him to tie up the various strands of technology at his disposal…

“It’s very much about relaying the whole experience, closing the circle of television, web, mobile and real life. This gives all of us the opportunity to archive public art whilst observing and letting the project go beyond its usual remit in broadcasting”

It’s also allowed Gee to do something that sounds Orwellian ‘Disguise the learning experience’ which basically means to seed participation into the event so that viewers involve themselves in the action. – In the case of the Big Art Mob – taking pictures of art and helping to compile a database.

If Channel 4’s contribution were to stop there it would be an interesting diversion, but where the project really kicks into gear, and what will be the focus of the series, is the entire Big Art Project.

The Big Art project launched in October 2005, the public were asked where and what they’d like to see. Over 1,400 people responded and eventually seven locations were chosen: Burnley, Mull, Newham, North Belfast, Cardigan, St Helens and Sheffield. All are currently in development and when the series it will document the entire process behind the artworks as well as involving the communities that will benefit from the intervention

Younghusband espouses the socio – economic virtues of public art in such poetic terms that I can’t help but mellow.

Both Gee and Younghusband are keen to point out the very close working relationship that they have with The Arts Council and the Art Fund and are full of warmth and praise. I can’t help but feel that the Arts Council must feel a little in awe of the relative glamour that Channel 4 brings to the table and slightly envious of its ability to spice up and cut through, the in house politics of the civil service..

I now realise what my problem was, it was rarely the art that caused real offence, more that my defensive reaction is often caused by not understanding the process and motivations behind something that is supposed to engage me.

It’s not all peachy. Channel 4 has its own version of public art currently on display outside its HQ in Horseferry Road, in Victoria. The Big 4 – why is everything ‘Big’? There’s a whole bag of corporate worms… public art or advertising… it’s advertising. But that’s ok; it’s their cash, their turf.

However, Younghusband sites one inspiration for the Big Art project as being the Cow Parade, the eccentric Swiss public art project that went global. Trouble flared, when The Militant Graffiti Artists of Stockholm took offence at some of the cows which had been painted in corporate colours with advertising slogans.
They kidnapped a fibreglass cow, held power drills to its head and threatened to decapitate it unless the sculptures were declared "non-art."
They accused the exhibiters of fraud stating that advertisements could never be art, and that…

‘Freedom of expression doesn’t belong to the average person anymore, only to those who have the money to buy a billboard or in this case, a cow that serves the same purpose as a billboard.”

Could this be the real issue with public art? We’ll have to wait and see.
I look forward to seeing Channel 4 work its magic with the Big Art project. No doubt there will be detractors, the inevitable ‘dumbing down’ arguments. But,
I suspect had Paolozzi been around, he would be an advocate, and after all,
the world would be a lesser place without its robo-turds.

Design Event 08: Tradition Foreword

On the back of last year's foreword for Our Friends In The North I was once again asked to go back to write the foreword for a show up in Newcastle.That's a lot of back and forth. I love going up to Newcastle because, as I'm contantly reminded, 'people are dead friendly up there'... very true. I told the organisers to get sponsored by Greggs the bakers but sadly I don't see them on the list.Have a look at Design Event 08 for a full line up of whats on.

The Viral Factory: Diesel XXX Party Invite

There are some very very talented people at TVF. I'd been building up to this job all my life: If you'd told me, aged 14, that one day I'd be given the task of looking through hours of porn all day, I'd of lit the cigar there and then. Trying to find clips for this was more difficult than you'd imagine. The office was jam packed full of porn, we felt guilty if we were found looking at anything but porn.It turned me off my favourite hobby but the end result is great and it's become an internet leg end.

Don't Panic: Designersblock Interview

Here's an interview I did on Piers and Rory from Designersblock, the last in the series for Don't Panic. They cut it down a bit but the main thrust came through; that Designersblock is a maverick unit, outside of the government and contemporary British cultural hierarchy; which is pretty impenetrable. One thing that doesn’t come through though, is the feeling that that they are quite hurt by this fact. I suppose being ‘the dude’ can be a lonely job sometimes.

Don't Panic: Beyond the Valley Preview

Another interview for Don't Panic. This one was with Jo Jackson, the girl's got plans. Seems like she's taking over the West End. Great though, she actually manages to make designers money and is bullish when it comes to linking retail with creativity.

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Don't Panic: Made in 24 hours Preview

Don't Panic: Interview with Ben Evans, Director of the London Design Festival

This was the first in the series for Don't Panic covering the London Design Festival. I interviewed the ever approachable Ben Evans the Director of the LDF . He's been criticised by some in the ranks of the London design community for seemingly spending budgets on thin air. He's got a difficult job... This interview took place before the festival. How many outside of the design world knew it was on? How many people involved with it actually went, or were invited to anything other than their own, or friends shows? Unfortunate malaise of arse by the entire design community to rally round what should be a celebration of creativity.

The Viral Factory:Samsung Blog Copy

This was where you'd be directed to for the Omnia 900 viral, produced by the Viral Factory. It's part of a transparent approach to virals: explaining 'why' to the viewer that's stumbled upon, or been directed to, the viral.

The Viral Factory: Skype Laughter Chain Web Copy

Lobster Foundation: Our Friends In The North Exhibition Foreword

Oblong: Magazine Promo

This was a free hand out to students during the Free Range exhibitions in the Truman Brewery in East London in July 2008. I vented my spleen, basing the stereotypes on the all the dullards from my youth. Walking around the student shows, nothing has changed.

Hawaii Design: Promo Copy

This was a promotional giveaway by Paul McAnelly of Hawaii Design.He'd been involved in some major projects and felt it was time to express just what he was capable of aside from the tag of graphic designer.Having shared a studio with him and worked for him in the past I was able to justify this with some copy...

Grafik Magazine: Bodies

For Grafik magazine, this was a tricky one. I hated the sentiment and the delivery of the show and had to sit and interview the 'doctor' i.e. Barnum style quack who put the show together.

Grafik Magazine: Naked in Newcastle

Grafik Magazine: David Shrigley interview

For Grafik Magazine, I went up to Glasgow for the day to interview Mr Shrigley. I'd met him when he came to do a show when I was at college in 1996, just as was begining to hit the big time but I hadn't seen him since. Back in 96 he was friendly, sincere, enthusiastic and very approachable. 10 years had past and he'd changed. Whether it was nerves I don't know, but he kept on name dropping major deals he was doing (Google at the time, although I haven't seen it) and pretending that he was bored by the acclaim. The interview was difficult, and I made it more so by accidentally tripping him up over his trademark crossed out spelling and the failed music / art connection. Mind due, it captures the awkwardness of the man. One of those people where the work outshines the personality, not a bad thing.