Practitioner Case Studies
I found it really interesting hearing about the studio and business side of design as it is something I haven't really thought about before. I have spent my career as an in house designer so business has not been a consideration for me so far. This is why I am eager to start this module and hear from successful professionals about how to create a thriving studio.
One thing I found particularly interesting was how many mentioned the impact of technology, especially in relation to communication. For example, Simon Manchipp of Someone said studios can be extremely successfully ran in a virtual way. This made me wonder if the pandemic has pushed this forward more and made working remotely and possibly hundreds of miles away from your colleagues more possible than previously.
In a report published in September 2020 called Changes in Digital Communication During the COVID-19 Global Pandemic: Implications for Digital Inequality and Future Research [1] it explored the way this digital shift is affecting people all over the world. It's interesting to look at all sides of this as even though at first becoming a virtual studio seems like a great, forward thinking idea, there is also a down side. For example, digital inequality. If studios went entirely virtual it excludes people who do not have the access at home. In the study, it's stated that 25% of people (in the US) do not have broadband at home and as many as 20% do not have a smartphone. I think digital inequality is going to have to be a massive consideration when pushing forward with virtual working. If I was to set up an entirely virtual studio for example, a priority for me would be to make sure the people working there had access to all of the software and hardware they need. A solution could be budgeting for contributions to people's wifi, providing computers with software for everyone and providing training across the board. I feel passionate about people's situations not being a barrier to doing something they love and are good at so any future studio I could set up would have to have these considerations.
I also found the number of times money was mentioned surprising. As a creative person in a creative industry, it's not the thing you want to focus on but it is such an important part in order to keep the business going that you have to. Especially if in a future practice I would like to make sure the digital inequality doesn't affect people I employ in the future.
Interview with Gem Barton
This was a really useful interview with Gem Barton, especially at the start of this module. I really appreciated the tips such as don't rush or be paralysed by fear and always analyse your failures.
I also found it very interesting that Gem said you shouldn't get a job, you should make a job. This liked to what Sam Winston said in the previous module - if you out enough time and energy into the side hustle you really care about, that will eventually become your career. This is the way you end up doing what you love and making a living from it.
It was really interesting reading about the three things that make a collaboration - obtaining skills you need, understanding the whole is greater than the sum of its parts and experiencing connection and communication. I think previously when I have collaborated with people I have appreciated obtaining the skills and experiencing collaboration but I hadn't thought about the idea of the whole being greater than the sum of its part which I think is interesting.
Further Research: The Pixar Story
Gem Barton's theory about the whole being greater than the sum of the parts got me thinking about a documentary I watched a few years ago called The Pixar Story [2]. Pixar is a great example of a company valuing the idea that the whole is greater than the sum of its parts. They have a rule that many people look at one project and everyone can add something to it but no one can take anything away from it. This is done by creating what they call a "brain trust", a group of people from across the organisation to offer feedback when the team are stuck or in need of advice. According to Director Ed Catmull [3] this works because people trust and respect each other and don't pull any punches when it comes to feedback, after all it is better to find out faults before the movie is released.
I think this is a brilliant model for a creative organisation. It fosters a community spirit that really promotes the idea that collaboration is the way forward while also encouraging honest feedback. Catmull also says that the fact the brain trust have no power, they are only offering advice is key - you are not agreeing to change everything by asking, just gathering feedback. I love this idea that people offer feedback and work in a truly collaborative way in a trusting and respectful team. I think this transparency wold also help with trusting the organisation which is another key to a happy work and studio environment.
Wallace & Gromit producers hand stake in business to staff
Lord and Sproxton who founded Aardman want to maintain the independence of the company they created by giving employees 75% of the company stock. I think this is such an innovative and different way to do this, it's putting the power into the hands of the employee. As the article in The Guardian states [4], they have an emotional stake in the company as well as a financial one. The transparency this scheme offers means that the employees know they have to keep coming up with new and innovative ideas in order to keep the company going. The more responsibility you feel like you have to yourself and your colleagues, the harder you are likely to work.
I think this is not only a way of making sure the company maintains its independence but also that it continues to be a creative and successful venture. The success relies solely on the stories and animation so putting the company into their hands will hopefully encourage creativity and innovation.
How to launch and run a design studio
I found this video [5] both interesting and a little infuriating. While it was interesting to hear how they all set up studios and the experience they had along the way, I feel like it all came from a position of great privilege. For example when Ian Anderson said you shouldn’t take the first job that comes along, this isn’t always possible. To be able to turn down jobs shows the position they came from, while I know this doesn’t mean they didn’t work hard, It does mean they had advantages not everyone does. I don’t feel like this was acknowledged in the interview and the advice they were offering doesn’t apply to everyone so the video fell a bit flat for me.
I would find it more interesting to learn about a studio that had overcame adversity to set up their studio, or had disadvantages to overcome. I think part of the problem with creative industries today is that they are far easier to get into for the middle and upper class. From the underpaid or unpaid internships to the central location of offices, it feels like the industry can be stacked agains poorer people. This is something I want to explore in this module - how to open up the industry of design and ensure that coming from a well off family does not give you any advantage over those that don't. I understand this is a large scale societal change but it has to start somewhere.
Further Research: The Demographics of Design
I decided to do some research into the demographics of the design industry and I was quite surprised at what I found. According to the Design Council [6] even though students studying design are made up of 63% women, the workforce is mostly male (78%). They also found that women are far less likely to be in senior roles. The workforce is also made up of predominantly white people, with only 13% being people of colour. The socioeconomic backgrounds are hard to research however the design council does say if most designers are in the higher socio-economic classes, then the design economy is at risk of being considered as being elitist.
This research suggests to me that design is already reasonably elitist and work need to be done to give more opportunities to people who do not fit into this demographic. Interesting design I always think comes from
people with an individual view of the world - one different from your own so a more diverse workforce is needed to truly push the industry forward. There is a risk that less people from different backgrounds are likely to take up Graphic Design the more elitist it appears as they might think this is not for people like them. This would be a great shame and a loss because it is always that different point of view that is the most interesting. This is something I want to concentrate on during this module.
ustwo Studios in 2016
This definitely made me want to work for ustwo! [7] The culture seems great here and it's clear they really value the individual people who work for them. The fact that it was founded by two lifelong best friends was evident in the way they treated the staff and also the relationship between the staff. (Although I really hate the word fampany).
This was a really good snapshot into the daily life of the company and gave me some ideas for how I would run my own. I liked the laid back nature and friendly atmosphere they created in each of their offices and it is definitely something I would want to be able to create in a studio of my own.
Redesigning Leadership - John Maeda, at USI
This was a really interesting video on looking at leadership in a different way [9]. The first thing I thought was interesting and surprising was Moore's law - the idea that the power of electronic devices doubles every 18 months - I knew technology moves fast but I have no idea there was an empirically proven theory about this. I am really interested in the rate of technological change and how people keep up with this. Throughout this weeks research so far I have been researching and discussing design in relation to privilege - with technology changing at such a rapid rate, this is another barrier to underprivileged people accessing design. Not only do poorer people not have access to the contacts often needed in a creative industry, they also do not have access to the most up to date technology as it often comes at great expense.
I also found it interesting that Maeda discusses the different between art and design - art is a question and design is an answer. I don't think I agree with this - I think design can be used as both a question and an answer. To me great design questions the world and if we are doing the right thing as well as providing solutions to questions posed. I think design can be far more than just fitting into the box of answering questions.
How To Run A Creative Business: In-depth breakdown with Melinda Livsey
[10]
Workshop Challenge
Revisit the geotagging workshop challenge from Week 2 of the Contemporary Practice module, and explore different studio philosophies through their about button and company statement.
Write an ‘about’ paragraph – an elevator pitch on either your current positioning or one you would like to establish. You may choose to take a speculative approach and envision your global dominance as a design studio superpower. Or as a more humble sole trader who works in a freelance capacity. Have your values changed since beginning the course? Is there a strategic approach your company would communicate to potential commissioners or clients?
Please consider the following in your approach:
What is the idea?
How does it work?
Why does it work?
I had a look back over my workshop challenge from week two of contemporary practice and decided to have a look at GOOD Agency again. [11]
I've always loved the work GOOD Agency produce but last module was the first time I had looked into the company as a whole. When I initially read the about section it made so much sense as to why I was so interested in them - they mirrored many of my values as a designer. I found it interesting that when I first looked into this, I hadn't figured out what my values were yet, the contemporary practice module really helped me to dig deeper and think about what is important to me.
Now I have a better idea it is clear why I like GOOD Agency so much, their values echo mine in many ways, especially the idea that design should be used to better society. I particularly like the section about GOOD Causes - GOOD Agency works with charities on campaigns and creating long term sustainable solutions. This is the kind of work I want to be doing - making a positive impact in society.
The next thing I decided to do was look at what my values are as a designer. The main things that are important to me in relation to design are:
Social consciousness - design should show responsibility or concern for the problems and injustices of society and work towards improving it in some way.
Take a side - design should not sit on the fence, it should make a statement and show an opinion whether that is about politics, social issues or even design itself.
Inclusivity and diversity - a career in design should not just be for people with privilege, it should include everyone in order to have a wide range of voices.
Collaboration - Skills from different people, disciplines, cultures etc should always be valued.
I have realised over the last few weeks that my passion lies in using design and therefore a studio/practice to benefit society and community. I wouldn't feel comfortable setting up purely a creative practice because I think we need to push this further and do more to help people flourish. This was strengthened in my research this week around the demographics of design - we need to work to get currently unrepresented voices into the field of design, whether that is people from an underprivileged background, prison leavers or underrepresented groups.
Case Study - The Clink Charity
The prisoners at each of The Clink training projects train up to 40-hours a week whilst working towards gaining their City & Guilds National Vocational Qualifications. Simulating a professional working environment, prisoners with six to eighteen months of their sentence left to serve volunteer for the programme, going through full-time training in order to reach the required level to succeed in their respective industry. [12]
Clink, although in a different industry is a really good example of the way I would like to set up a studio - as a social business. A social business is created to address a social problem, in this case the social problem is prison leavers not having qualifications and prospects. Click has five main aims:
"Charity - A gold star approach to governance, influencing policy, effecting change, excellent relationship with industry ambassadors
College - Accredited City & Guilds training, real-life working environment, ‘outstanding provider’ recognised by OFSTED, builds teamwork
Restaurant - High quality ingredients, high standards, breaking down barriers, changing the public perception of serving prisoners
Reintegration - Reduced chance of Clink graduate reoffending by 65.6%, credible solution to industry skills-gap, making society safer
Sustainability - Recycling food, recycling packaging, recycling lives"
I like how clearly their social aims and business aims are set out and it is definitely a format I want to consider when thinking about my upcoming business plan.
Initial Ideas
Harriet and Richard suggested some of the above questions to get us thinking about our potential practice. It was a really good exercise and really got me thinking about the kind of studio/practice I would want to create. By looking at what I don't want to do, such as right wing propaganda or work for an organisation with anti LGBTQ+ values it has made me focus in on what I would like to do- create an inclusive, diverse studio offering opportunities to people who wouldn't have them otherwise.
From this I decided to focus on what I want my elevator pitch to say. As you can see, for something that's only meant to be around 30 seconds there is a lot I want it to say. I thought the next step was to try and focus this onto the things that are really important to me.
Well, the only thing left to do is to write my 'about' paragraph...
Studio 5 x 5
We are a social business working with ethical companies tackling socially conscious projects. Innovation, creativity and adding more diverse voices to the world of design are our three main missions.
We offer a fantastic team, including experienced designers, apprentices and trainees, working together to create something unique, thoughtful and beautiful for you. Through apprenticeships, community programmes and training schemes for prisoners we want to give opportunities in design to people who would not have them otherwise.
We have the heart of a charity, soul of a designer and mind of a business.
Studio 5 x 5
Studio 5 x 5 is a social business working with ethical companies tackling socially conscious projects. We are passionate about innovation, creativity and adding more diverse voices to the world of design.
Through apprenticeships, community programmes and training schemes for prisoners we want to give opportunities in design to people who would not have them otherwise. We have a talented team made up of experienced designers, trainees and apprentices who are eager to work with you to improve the world around us for everyone.
We believe design is about people. Our values are at the heart of everything we do.
Reflection
I really enjoyed both the content and the workshop challenge this week. I feel like the lectures and videos really helped me figure out what was really important to me in the context of my design values. Having not really thought about how I would set up a studio before, I hadn't thought about the lack of diversity and different voices in the field of design. The moment that triggered my own research followed by my idea for how my future company would hire people started with watching "How to launch and run a design studio" Realising the privilege that is involved in being able to choose the jobs you take and also have the freedom to make made me realise that that is what I want to change.
Researching demographics in the design sector also shocked me. It was hard to find socioeconomic statistics but the difference between men and women in the work force is pretty bad too - men although less likely to do a design degree are far more likely to rise through the ranks and get promotions. While I know this is a world wide problem it is also something I want to address in any future practice.
I am pleased with the overall direction my studio has taken - being a social business really makes it tie in to my other interests besides design. I am happy with my 'about us' statement however this is something I plan on reviewing while writing my business plan. I think I have captured the important things to me - innovative design, helping people and creating a fairer society.
References
[1] Nguyen, M. H. et al. (2020) ‘Changes in Digital Communication During the COVID-19 Global Pandemic: Implications for Digital Inequality and Future Research’, Social Media + Society. doi: 10.1177/2056305120948255.
[2] The Pixar Story. (2007). [Online]. Leslie Iwerks. USA. Disney. [2/6/21] Available at: Amazon Prime.
[3] Catmull, E. (2008). How Pixar Fosters Collective Creativity. Available: https://hbr.org/2008/09/how-pixar-fosters-collective-creativity. Last accessed 2/6/21.
[4] Butler, S. (2018). Wallace & Gromit producers hand stake in business to staff. Available: https://www.theguardian.com/film/2018/nov/10/wallace-gromit-producers-hand-stake-in-business-to-staff. Last accessed 2/6/21.
[5] How to launch and run a design studio. [online] Available at: https://www.youtube.com/watch?v=m4USCXMS7BY.
[6] Design Council. (2020). Does Design Have a Diversity Issue?. Available: https://www.designcouncil.org.uk/news-opinion/does-design-have-diversity-issue. Last accessed 4/6/21.
[7] ustwo Studios in 2016 - makers of Monument Valley. [online] Available at: https://www.youtube.com/watch?v=f7sAt4LnefQ [Accessed 4 Jun. 2021].
[8] Redesigning Leadership - John Maeda, at USI. [online] Available at: https://www.youtube.com/watch?v=UR5_G9nxKow [Accessed 4 Jun. 2021].
[9] Redesigning Leadership - John Maeda, at USI. [online] Available at: https://www.youtube.com/watch?v=UR5_G9nxKow.
[10] How To Run A Creative Business: In-depth breakdown w/ Melinda Livsey - YouTube. [online] Available at: https://www.youtube.com/watch?v=D8BN2YSyYkg.
[11] GOOD Agency. (2021). About Us. Available: https://www.goodagency.co.uk/about-us/. Last accessed 7/6/21.
[12] The Clink Charity. (2021). INTRODUCTION. Available: https://theclinkcharity.org/the-charity. Last accessed 7/6/21.
Comments