Week 5: The Collaborative Mix | Reflecting on Classic Models for Graphic Design Working
Introduction:
This week we reflect on how graphic designers use classic models and relationships to shape their project outcomes.
The key is to adapt these approaches to fit each project's unique requirements, highlighting the importance of procedures and selecting suitable examples of media and visual communication methods. This ultimately helps a designer effectively convey the story behind a concept.
Examples of working relationships between designers and artists include:
• Work by Peter Saville and photographer Trevor Key, who worked together on New Order album covers.
• Derek Birdsall teaming up with photographer Harry Peccinotti for Pirelli calendars in Nova magazine.
• The collaboration between Roald Dahl and Quentin Blake in children's books.
Lecture 1: ‘Design to Change the World’ at the global design Forum, London Design Festival 2018
Christopher Miller:
Christoph Miller shares his passion for the Migrant Journal project, a six-issue magazine that explores the world of migration. It explores human migration and the movement of goods, information, money, animals, plants, and entire landscapes, illustrating the intricate interplay between them. The project brought together a diverse team from various European cities, including Bergen, Lisbon, Moscow, and London.
The projects aim was to capture and record a moment in time marked by migration.
On reflection, Christoph Miller has a passion for the Migrant Journal project. The magazine explores various forms of migration, including humans, goods, information, and landscapes. The project became a platform for collaboration bringing together a team from European cities like Bergen, Lisbon, Moscow, and London. Its aim was to document and capture a moment defined by migration. The project serves as a cultural artefact, inviting readers to reflect on the profound impact of migration in our world.
Morag Myerscough
Morag Myerscough, has a talent for creating engaging experiences that captivate. One notable project mentioned in the case study is The Temple of a Gate, which was constructed for the Festival of Love on London's South Bank.
Morag has also dedicated time to working in hospital environments, recognising the impact of changing spaces on reducing stress and improving general well-being and mental health. Her projects are truly remarkable, characterised by their vibrancy, eye-catching nature, and a delightful zest that never fails to bring a smile to your face when you encounter her artwork.
To achieve vibrant colours, the final step involved digital printing. Bright hues contrasting against a warm wood grain backdrop, this has been further enhanced by the presence of natural light.
On reflection, there is no doubt this work is striking and grabs the viewer’s attention. It is interesting to see how strong colours can transform what is considered a dull and sometimes gloomy landscape, like a hospital ward into an uplifting environment.
Lecture 2: ‘Graphics That Engage’
Ken from Halo Studio expands on the theme of collaborative work, highlighting the power of digital tools and co-creative frameworks to empower individuals and encourage fresh perspectives within communities.
Emphasising the importance of community engagement, Ken describes their projects as being driven by the community itself. He explains that all the profits generated from the risograph printing press are reinvested in building new equipment, developing tools, and distributing publications, all with the aim of supporting and assisting their design audience.
Their guiding ethos revolves around the belief that "through play, we can cultivate co-creation and foster innovation." This notion forms the foundation of their approach, enabling them to create an environment conducive to collaborative creation and the development of groundbreaking ideas.
On reflection, Hato Studio's focus on collaborative work, community engagement, and the belief in the power of play and co-creation resonates deeply. Their commitment to empowering individuals, reinvesting profits, and fostering innovation is really inspiring. It encourages me to explore incorporating these principles into my own endeavours and contribute to a more inclusive and vibrant creative ecosystem.
Lecture 3: Havana Club 3 and Pearlfisher
Pearlfisher London redesigned the visual identity for Havana Club 3 Años rum.
The goal was to align it with the brand's vision, strategy, and Cuban heritage.
The concept of "The Human Touch" captured Cuba's dynamism and authenticity.
Local Cuban artists collaborated on the design process.
The result is a vibrant, clashing collection of graphics inspired by Cuban culture.
Hand-painted logos and bespoke fonts add a human touch.
The design creates an exciting sensory experience, connecting tradition with the modern consumer.
Reflection on Havana Club 3 Años Visual Identity:
The Havana Club 3 Años visual identity revamp by Pearlfisher London successfully captures the essence of Cuban heritage and the brand's vision. Through collaboration with local Cuban artists, they brought the concept of "The Human Touch" to life, resulting in a vibrant and authentic representation of Cuban culture. The redesigned graphics and hand-painted elements create a visually captivating and sensory experience that seamlessly connects tradition with the modern consumer.
Research tasks:
Research the different ways in which graphic designers produce work collaboratively.
“Alone we can do so little; together we can do so much.” (Keller, H. 2023).
As designers, it’s important that we focus on ensuring that our designs match the needs of users, and solve their problems while keeping their business goals in mind. As a designer myself, I thrive on collaboration to produce impactful work. Whether it is partnering with clients, fellow designers, or other creatives, collaboration allows for a vast array of diverse perspectives.
Why do we collaborate?
From my own experience, I like to collaborate as I enjoy getting another individual’s opinion on a specific idea. In addition to working this way, I believe it makes you a better designer and allows you to discover your own potential better.
“Fears are educated into us. And if we wish, we can educate them out.” (Augustus Menninger, K. 2023)
By working collaboratively I now have a better understanding of different roles and responsibilities within a team.
There are many other reasons as to why designers collaborate with other creatives. In most cases, this is due to a specific skill set or niche an individual may possess. For example, if we go back to week 3 in the first module GDE710. Harriett Fergusson a designer from Pearlfisher explains how collaboration has helped the business grow. Due to the agency being so spread out globally, having studios in places such as London, New York, San Francisco and Copenhagen encourages collaboration and the sharing of knowledge.
“Within each studio, there is cultural diversity. For example, Pearlfisher in London has people from Africa, Asia, America and Europe in one studio. With this cultural diversity comes conceptual diversity.” (Ferguson, H. 2023).
I can see how it is important to have a mixed group of people of different races, gender and cultures under the same roof, even more so when you are involved with global clients, as this can offer a different layer of thinking, leading to exciting ideas.
Furthermore, Harriet explains how this collaboration can lead to sourcing design partners globally.
“Sometimes it is beneficial if you are looking with a more niche skillset”. (Ferguson, H. 2023).
Harriett explains how the Taylors of Harrogate rebrand came together, it was clear to see how sourcing partners globally had a positive impact on the look of the new brand. Taylors of Harrogate wanted to show a level of craftsmanship through illustration. Each range of Coffee or Tea had a different artist illustrating specific flavour notes providing a unique look and story for the consumer. On reflection, this is a positive example of global collaboration, as Pearlfisher has devised a way of making a brand stand out and has avoided creating another ‘me too’ brand.
