Art&Design

Brutalism
52

Web Design

Omniae dolor remolup tatur? mo averfectum, isquam ad cotilius prio, eliquamdiem, ce
Is aut earum aliquundae ducia ipsanti squodicium expliquis is firimus bonsuliu que tandemei itam mo Catus, quam, cesicit
nimus ad que volessint.Heni con none sequiam ut alibus ped ut abernum acter atra? Ublicibunum terferaet; neque imurbit.
laut que veliquianis vendit int ea velesto te serem et pori del int. Ifertia mdicior adhum adeorae condampere nos
Axim eos in re ilia dolescia num is prem ut as nonem clem condie te, culviciem te, culissen sti, opopotiliere
facerupis eos pa delicip sumque aute enda volor sequidel consulessim sum Romaior poterferri, temus ia vent.
int excerat iorerum quasitation natem sinctatis rendel maximil Tem horbissus consitus. Factemu nteribes patum tam vir in
laborem olorum re nobiscilique vernate mporeptati dolupta revivis re, quam inti, pulicul abefece rfecon te adhuc orum sus
voloreiuntum etur aut faccusc ientiumque dit vel incieni cae condiis fur a pondit vivatui senatiqui pubisto audem iae
atectium et este sini velitiis sust, volupta doles voloribus conside ssolusperum hem te, Cata, novitea tusatum dendiena.
autem expe con pliae di aut enim qui officipitet res ipsapid contri scii con sidessime facchuidet fur. Ehebem face conis bonst.
et lique pariore prendignam si dolore dendaes simoluptatur
se cum delibus exerion pro es viderum volupta tibusda
vidis etur, conemporpore nest,Cauci publi, sistanteriam diem
tam inticaectam, Casti ina recerum tessiciis. Tisus, centrac
toribusa pultuium omporae quostatus. Diti, fesena, Ti. Maribem

53

_4 Juraj Bartoš Website Design

by Kristina Bartošová

Slovak;
Documentarist Photographer.

Omniae dolor remolup tatur? olorum re nobiscilique vernate mporeptati dolupta?
Is aut earum aliquundae ducia ipsanti squodicium expliquis is etur aut faccusc ientiumque dit vel incieni atectium et este sini
nimus ad que volessint.Heni con none sequiam ut alibus ped ut velitiis sust, volupta doles voloribus autem expe con pliae di
laut que veliquianis vendit int ea velesto te serem et pori del int. aut enim qui officipitet res ipsapid et lique pariore prendignam
Axim eos in re ilia dolescia num is prem ut as nonem facerupis si dolore dendaes simoluptatur se cum delibus exerion pro
eos pa delicip sumque aute enda volor sequidel int excerat es viderum volupta tibusda vidis etur, conemporpore nest,
iorerum quasitation natem sinctatis rendel maximil laborem

54

Landipsam ea culparci utem quo id mincipitiis ? abo. Nam quodi restibus evelend emposti ostruntiam, es pro
invendandae omnistr umquunt,Labit. Id resi pere coruro con
exceate quas qui destion rerum corem as rempost fuga. telus, vivid parentiae cotatriam que timo publius hostrum
Et que venimpe recat. Icatiaerum quaturiaest excea tea vitus clum vesimmo rendete rcerae nemurs alicavenit iu il
ea sitate explaut eum que voleser chiciist a vita de vivenatuam oratil verdiestia quemum utudemponsus in atela
nonsed quam quundit, ipsuntor autem quunt ommost nondit; nos, co in tum ina, quitus? Pat atumunc ta, nitius, Catam
odigendicia eic tem et voluptatur aceates cient. ariorum P. Ra molute furbis, dienatilinam senatis opublint.
Optur atincillaut alignimet fugitat verates truntum, aliquunt exped Rum estra? quodicut L. Vocas Castra num ne ponicib
eum fuga. Et pliciamendit reperum voluptate comnist utem usupimisque in vis, patis. Muluteb ununulici sens An temedo,
nobit, ullab illupta delentiandis sent laborep udaerum si berrum deora et? Quam Patquiumus ad diis, utem et, cas crentere
repe quiatem quatur? Natquametur, omnimpor re consequ inatuam dierem cone in senderfessil until hactum horebus At
atistrum quid maximol uptasimus, quist, cum faccaborem ut in dit, que con dius, Cupicivit? Unc rem nostrorem, C. Ocaet
officidem ex experspiet eossit, sam id exceseque lanim sit que vera rem, patil terbis, num terceps, nostra, cote pro nul cupplic
ma cus est occum se la qui optatatio. Otaquatem apelessime iocturordiu men delabef eculati oriditeat, nox mandace
maximol uptate doluptio et eumquam doloreritas untibus. ssimpor bitante potea pora Simaio, non sentuid eescit.
Omnis ped quiam, custibus aborume nimped que verum et, ad Abutus, noximil hus achui consum orbem int, med publia
qui opta abores etus, occatum sinvenem et am este de eum temporum hiciis fatea resid cus At de imus consum iae nostra
hilitat quundit ut fugias di incte everis evelesed quatium aspis ius, utenat. An te ina, in simanum paritra verunte rvilicte estatum.
sum venia volupta consequi beaquatur, corem ut occustias Evirtus. Avernihi, tenatelus, sestratus, comnequam conulto
dest, il mi, qui odis soluptae veligenti torehendenis molorio quo Castatum, nove, no. cum temus; nem orem, quon sa vent?
blaceaquatur molupta ecumquae remolori non rem. Udae nos
porepta tquatiae ressimi ncipicia veratiis quis nonsereri te re vit
illigenest ommolo moditis excesequo venihilit quuntor ecaeptate
nihil ma volesen dipsam il estrum qui conse enienimet ullibus,
non provita adipsapis reped quias modiae sunt, volorem
volorep elluptatium aligniatiunt mod qui autasimin con reped
magnam qui optassum reri corupidunt poribus dita voluptas

55





Brutalism

&
Business

Good Design is Good Business.

58

Brutalism
59

_5 The Price is Right

by Alec Dudson Pricing and negotiation

Working out how to properly price your own boss, so it really pays to cut yourself some slack. This
work as a designer can be really tough. is something that I’m far from good at, but from time to time,
when I step back and realise that I’m putting myself under too
In the years that I’ve been running intern and the professional much strain, I change the dynamic and relieve some pressure.
practice module for final year graphic design students at
Leeds Arts University, the questions and conversations that I’m “Be certain of one
engaged in often and inevitably boil down to the subject of pay. thing, that what
Indeed, working as I do to get students, recent graduates and you’re doing clearly
new entrants into the job market to ‘unlearn’ this idea that they has value”
need to work for free in order to somehow prove their value,
is often a tough gig. Once you’ve come to accept the idea that In a recent workshop, I asked my graphic design class at Leeds
you’ll probably have to work unpaid, it makes it far, far harder to Arts University to individually quote me for four different jobs.
confidently place a monetary value on your work. But regardless I’d organised them into groups depending on how often (or not)
of your specialism, skill level or experience, one fundamental they had charged clients for their work. My hunch played out
thing remains true, you and you alone decide your rate. and for the most part and those who were used to invoicing
generally quoted far higher than those who weren’t. I’m of
It’s a daunting realisation initially and one that as you level the opinion that in terms of skill, the class is at a relatively
up, take on bigger projects and work with more clients, can consistent level, so showing them how much their quotes varied
still be unnerving, particularly when you’re charging more was an eye-opening exercise. So much of setting your rate is
than you’ve ever charged before, or are taking on a team confidence, some of which comes from experience, but some of
to help you deliver the project. That is a completely normal which, you need to project regardless. Self-belief doesn’t arrive
feeling, some of the most established practitioners on the overnight of course, but if you’re making work that has caught
planet still get pangs of imposter syndrome when the stakes the attention of a prospective client or even some unscrupulous
get higher than they’ve ever been before. So if you’ve just scoundrel who wants to offer you an unpaid internship, be
started charging for work, or haven’t done so yet, fear not, certain of one thing, that what you’re doing clearly has value.
everyone looking to walk your path has been there before
and finds themselves back there from time to time. Two often cited, high profile, but nevertheless illustrative
examples of how a creative’s own perception of value can vary
Being comfortable putting a price on what you do is an ongoing wildly come in the shape of the stories behind the logos for Nike
process, but one that quickly boils down to the question ‘how and CitiGroup. The ‘swoosh’ — perhaps the most iconic and
much?’. At any stage in your career, to pluck an arbitrary figure recognisable logo of a generation — was designed in 1971 by
out of the sky is to entirely miss the point. Fundamentally, your Carolyn Davidson. Setting her rate at $2 an hour, she billed Phil
rate, fee or whatever else you want to call it, dictates how you Knight (now the 27th richest person on the planet) for 17.5 hours.
work. If you’re not careful, you’ll find yourself toiling round the The logo set Knight back a measly $35. Davidson has since been
clock and barely scraping by. Anyone who has even dabbled gifted stock in Nike, estimated to be worth over $1m, but even
with a creative practice will identify with the notion that when then, the value that symbol generates still makes Davidson’s
you’re tired, stressed and rushed, it’s hard to create your best compensation look like the steal of the century. Compare that
or at least some joyful work. By setting your own rate, you’re to the narrative around Paula Scher’s design for the CitiGroup
in effect your own boss, so it really pays to cut yourself some
slack. This is something that I’m far from good at, but from time
to time, when I step back and realise that I’m putting myself
under too much strain, I change the dynamic and relieve
some pressure. By setting your own rate, you’re in effect your

60

Hourly or Daily Rate This is often the default assumption that students and recent
graduates go for when first charging for their work. There are
logo, famously initially sketched out in a few minutes on a some advantages, in that you’ll be able to bill the client for
napkin during a meeting. The clients were initially aghast that every last moment you spend on the project and this will help
something that had taken so little time to fundamentally solve to account for any unforeseen issues or client changes that
could cost them $1.5m as part of a $10m rebranding project. need to be worked through. It also may help to discourage a
Scher eloquently pointed out that it wasn’t the few minutes client from asking for amend after amend as they’re paying
that she was charging for, it was her entire education, all of extra for each round of alterations. As such, it can be an
her industry experience and her cultural references. In effect, effective means of protecting yourself from being given the
if she only ever charged for the time it took her, she’d either runaround. The drawback though, is that this can lead to a
have a mind-bending hourly rate or be shooting herself in the Caroline Davidson situation, where your modest day rate
foot, by undercutting her potential fee by being such a quick represents a huge bargain for your client. It’s also likely that
thinker. For me, what Scher’s anecdote is a great introduction because your client is wary of the payment structure, that
to, is the point that as a creative, you need to think carefully of you’ll get a good deal of pressure from them to only spend
the context of your work each time you’re setting your rate. a limited time on the project, as they won’t want the fee
rising past a level they’re comfortable with. If you do make
Once you’re comfortable with this idea, it becomes far easier this arrangement, be sure to have a signed agreement in
to look at the practical ways of ensuring that the value that place ahead of commencing the project, so that there can’t
you’re generating is adequately translated into a level of pay be a dispute when you bill the client for hours worked.
that allows you to do what you do best, giving space for your
practice to grow and ensuring that you’ve also got something Flat or Project-based Rate
tucked away for a rainy day. Sometimes, but I’d urge you to not
rely on these by default, an hourly rate or a flat project fee might So, why not just quote a client a flat fee for the entire project
be appropriate. Other times, a value-based approach offers you and then you both know where you stand from the get-
far more appropriate compensation for your hard work. I intend go? This can be a solution, but often will see clients looking
this piece to serve as an introduction to some of the different to add extra deliverables within the agreed fee. It’s vital to
strategies you could adopt as a designer and when they might have an itemised, signed, agreed schedule of work between
be applicable. For a more detailed insight, you can enrol on our you and the client in these cases in order to protect you
online course, where I’ll guide you through each fundamental from any unpaid add-ons. Include in your quote fees for any
step of pricing your work. For a more detailed insight, you can amendments or changes, this is a good way to deter the
enrol on our online course. Where I’ll guide you through each client from trying to rinse you. Another peril of this approach
fundamental step of pricing your work.here I’ll guide you through is that you need to have a very good understanding of your
each fundamental step of pricing your work.Where I’ll guide workflow, workload and calendar in order to pull this off. As
you through each fundamental step of pricing your work.here I’ll
guide you through each fundamental step of pricing your work.

61

&Business

“The most important thing is that you
develop an approach that works for you”

deadlines approach, you might have to work extra hours on you’ve got aspirations to work with big clients in the future, or
this in order to fulfil your obligation. The less accurate you’ve to start a studio or agency, asking lots of questions is vital to
been when quoting the rate and breakdown, the more unpaid you achieving that. When you are working on a large scale
extra work you’ll end up doing to make up the deficit. and have staff, freelancers and other overheads, an hourly
rate is unworkable and a project-based approach requires
Value-based Pricing incredible precision in your financial forecasting. While the risk
here is that some of your earnings will be tied to performance,
Versions of this strategy are employed by all manner of it’s often a far smarter way to operate. I can guide you through
creatives in a variety of industries and across a number of this process in more detail in our online course, which you can
levels. Rather than simply looking at what you’re providing as a preview here. While the risk here is that some of your earnings
deliverable — some tangible object that you’re creating in return will be tied to performance, it’s often a far smarter way to
for money — you approach things far more holistically and operate. I can guide you through this process in more detail in
talk to the client about what their goals are and how this piece our online course, which you can preview here. While the risk
of work plays into that. What you’re looking to understand, here is that some of your earnings will be tied to performance,
or at least gauge is how much ‘value’ you’ll be adding to their it’s often a far smarter way to operate. I can guide you through
business through your work. That then will help to ensure that this process in more detail in our online course, which you can
your fee accurately reflects the positive change that you’ve preview here. While the risk here is that some of your earnings
contributed to. This approach requires you to think a little more will be tied to performance, it’s often a far smarter way to
strategically and to ask the client plenty of questions during the operate. I can guide you through this process in more detail in
discovery phase. The more you listen to and understand their our online course, which you can preview here. While the risk
problem, the greater the chance that you can create something here is that some of your earnings will be tied to performance,.
that will really help them to achieve their financial goals. If more detail in our online course, which you can preview here.

62

_5 The Domino Effect

by Amalia Illgner Unpaid Internships

The household names operating unpaid job as a production assistant at the ABC newsroom working
internships and the wider implications of my way up to become the personal assistant to Kerry O’Brien,
working for free Australia’s answer to Jeremy Paxman. I also had several articles
published in the national press and popular magazines. In
Kathryn Newman, then 21, was “over the moon” when she other words: I felt ready to have a crack in London. But once
was offered a four-month internship at London’s Sir John in London, my luck ran out. I think I applied for more than 100
Soane’s museum in 2012. She held a BA in history and an jobs: “editorial assistant”, “junior editorial assistant”, “junior
MA in cultural heritage studies, and had already completed assistant editorial assistant”, “production assistant”, “research
two successful unpaid placements. She was doubly delighted assistant”. Time and time again, I failed to make the final cut.
when she started running school workshops and seeing fact
sheets she’d developed used by enthusiastic school children. Recruiters and editors said my CV was “solid” but I lacked
UK experience. I was also up against those who had post-
Getting the internship had been a struggle. Kathryn, who had two graduate journalism qualifications. So I spent the best part
degrees, applied with a CV, had glowing references, performed of the following decade earning money as an advertising
well in the formal interview process and even then, another copywriter, squirrelling away savings so I could do a MA in
candidate had beaten her to it. “They were really looking for journalism and prove how serious I was about my career.
more experience”. But her CV was kept on file and she was
offered the internship in the next intake. The pay: £2 a day. “Surely it was both right, and my right
to use every advantage I had to boost my
A spokesperson for Soane’s told us that these highly competitive prospects. Or so I thought”
positions no longer existed, stating “we don’t do internships
unless they are paid, and as we have a challenging financial It paid off. Even before graduating I’d had several articles
outlook this means we very rarely, if ever, do internships. We do published in The Guardian, The Independent and trade
advertise 3-month volunteer placements for specific roles, and magazines. I even won a few awards. A good next step, I
we rely on regular volunteers for the running of the museum.” thought, would be to apply for an internship at Monocle, one
of my favourite magazines. Another of my MA classmates had
Throughout her internship at the institution, Kathryn relocated done the same internship, and loved it. She had written small
from her home county of Kent and worked early mornings as pieces in the magazine and had even produced a podcast.
a teaching assistant in special needs department of a local
primary school, while also getting financial support from her The internship was two months long, with one month working
father to live in London. “My dad gave me £1000 a month, this Monocle’s 24-hour radio station, and the other assisting on their
barely covered rent, food and bills”, she says, “but it felt normal monthly magazine. I’d get new skills, hone my existing ones,
and every one of my 70-odd course mates were doing the make contacts and, perhaps, even impress the editors enough
same thing, some taking on PhDs, all trying to get an ‘edge’”. to eventually land a full-time job. The fact that the pay was
£30 a day — less than half the legal minimum wage — didn’t
This “edge” will be familiar to the 70,000 graduates phase me. I knew of so many other students from my course
who every year undertake placements, internships and who had interned for several weeks for absolutely nothing.
voluntary roles in the hope that they will secure entry- The National Union of Journalists report that as many as 83%
level jobs in the creative industries, covering sectors such of new entrants into journalism undertake internships, which
as media, fashion, cultural institutions and the arts. average at seven weeks, and around 92% of these are unpaid.

The idea of needing an edge was certainly familiar to me. Plus, I saw that those classmates who were willing to
After graduating with a BA, I left my hometown of Sydney and intern were quickly getting further ahead of the others
arrived in London with dreams of getting a job as a journalist.
In Sydney, while studying full-time at night, I’d held down a

63

Brutalism

“I don’t think we should pay interns
after all, we are doing them a favour”

who were stuck working retail and bar jobs. I wanted to area. The excitement and adrenaline backstage is brilliant.”
get ahead. I had my savings and I had a partner with a Lauren proved to be such a competent and talented worker
well-paying job. After working so hard and waiting for so that she was sent to the London Textiles Fair in the place of her
long, surely it was both right, and my right to use every manager who couldn’t attend. “I was essentially representing
advantage I had to boost my prospects. Or so I thought. her as part of Paul Smith”, she says. “And then even in the
office, I had my own desk and email address. I wasn’t just given
Lauren Chivers is a bubbly textile and design undergraduate mundane jobs, I was given responsibilities such as updating
at the University of Portsmouth. Like me, she saw interning the design boards and spreadsheets for fabric orders”.
as a perfect complement to her studies, and a way
to bolster her prospects. Like me, Lauren was keen to And for this Lauren was paid £5 a day. She was also
get an edge. “I knew that in order to get anywhere in given two-thirds of the £36 cost of her three-hour daily
the fashion industry after university that I was going to commute between London and Portsmouth. “Although this
have to have extensive work experience”, she says. was incredibly tiring, they were very accommodating and let
me work hours that coincided with the trains”, she says.
Lauren interned at Paul Smith for 10 months last year, and,
she says, “it was the best 10 months”. Lauren counts being Today Lauren is confident her internship was a wise
backstage at Paul Smith’s Paris show in June 2017 as a highlight. investment in her career. “Nearly everyone I worked with
“This was my third and final show whilst working as an intern, or spoke to had also completed internships that then
so by this point I was known by everyone and trusted a lot! helped them get the jobs they are doing now.” intern invited
I was given the responsibility of organising models for the Paul Smith to comment but the company declined.
choreographer, as well as general organisation of the backstage

64

&Business

“We in the media are comfortably with the
elite, with little awareness, contact, or

connection with those not of the elite”

Kathryn remembers sitting in the lunch area on a break from Independent Reviewer on Social Mobility and Child Poverty.
her shift, when she heard Tim Knox, the museum’s then director, In his “Fair access to Professional Careers” report, he found
talking about the museum’s internship programme. “I don’t 49% of journalism students come from the highest socio-
think we should pay interns”, he reportedly said, “after all, we economic groups and just 14% from the three lowest.
are doing them a favour”. intern invited Knox to clarify these
comments, but a spokesperson at his current employer declined. “We in the media are comfortably with the elite, with little
awareness, contact, or connection with those not of the elite”
And to a certain extent, I can understand this argument. Veteran broadcaster Jon Snow recently argued that: “…in
When all you are seeing is an endless carousel of qualified, order to get a staff job in mainstream journalism, you need: a
keen — and often grateful — participants, it’s perhaps masters degree, a series of unpaid internships, and a place to
easy to interpret this as a win-win situation. It’s a win for stay in the London area, without any guarantee of it working
cash-strapped (and not-so-cash-strapped) galleries, out. Barriers to entry into this highly competitive industry
publishers, media outlets, and it’s a win for graduates who largely on the basis of background rather than merit.”
see it as a short-term investment for a long-term gain.
But even those for whom the system appears to benefit,
But it’s a loss for anybody who can’t afford to feed, clothe shouldn’t be fooled into thinking “it’s someone else’s problem”.
and house themselves for little more than spare change. After her time at Soane’s what followed for Kathryn was
For Lauren, lunch money and two-thirds of a £36 travel years of applications, “lots of positive feedback” on her
card were enough. But for others, paying out £12 a day CV but ultimately a series of rejections, a redundancy and
(£60/week – £2,400 for the 10 months) on top of living administrative roles that were not leading her anywhere
expenses and university tuition fees, is unthinkable. near her area of specialty. By 2014 she had had enough, she
needed some financial stability and decided to retrain as
It’s unthinkable for graduates like Alex Jackson. Alex graduated a primary school teacher. She says she loves her job, loves
with an MA in journalism in my year. He passed with a distinction education and gets a massive thrill taking her classes on
and was shortlisted for a prestigious student journalism award. trips to museums, but she does feel wistful that it’s not her
But, unlike me, Alex does not have a rent-free home in London, running those museum workshops. “I still love museums, I go in
and a partner with a well-paying job. Unlike Lauren, his family all the spare time I have, I still think that working for the V&A
doesn’t live within commuting distance to London, where would be the best job in the world, but, you know…I tried”.
85% of all internships in many sectors — such as media —
are based. Unlike Kathryn, his dad cannot give him £1,000 It makes me wonder how many Alexes and Kathryns are
(the minimum cost per month the Sutton Trust estimates it missing from the creative industries today. It makes me wonder
costs to live in London) to subsidise his rent, food and bills. how many more will be missing in the future. I start to confront
the reality of how long I will last in this industry myself.
For Alex, the £30 a day Monocle intern “salary” is untenable,
as much as he’d love the chance to gain the experience at Snow used the The Grenfell Tower disaster as an example of
working at such a well-regarded publication. Instead he works what happens when all but the very privileged are locked out
at the London Eye who pay him above the minimum wage. of a profession such as journalism. “It taught me a harrowing
He wrote to The Guardian about the issue: “my working-class lesson, that in an increasingly fractured Britain, we in the media
family, not based in London, [can] offer little support. One of my are comfortably with the elite, with little awareness, contact, or
parents took on a second job to help, and they sold the car”. connection with those not of the elite. This completely man-
made disaster has proved beyond all other domestic events
A Monocle spokesperson denied the charge of underpaying how little we know, and how dangerous the disconnect is”.
interns, saying: “all Monocle internships are paid above the
National Minimum Wage. We do not take anyone on unpaid
work experience. Internships are for four to eight weeks. They
regularly lead to future full-time employment as correspondents
and contributors at Monocle for the many talented interns
to whom we are happy to offer initial experience.”
“Journalism has shifted to a greater degree of social
exclusivity than any other profession”, says Alan Milburn, the

65

_5 Breaking the Formula

by Lisa Williams Design University

Having dropped out of uni, a job in love and you’ll never work a day in your life’ and think, ‘How
the creative industries seemed out of exactly does one manage to accomplish that and why is this
reach for Lisa Williams, but then an fridge magnet causing me to question my creative worth?’
opportunity came her way that changed
everything Looking for work, the lack of degree on my CV stuck out like a
sore, under-qualified thumb. I couldn’t seem to get an interview
How exactly do people work their way into jobs in with an agency for love nor money, and the jobcentre certainly
television and advertising? As someone who has wasn’t dishing out the goods. I bounced between office jobs
managed to kick-bollock-scramble their way into a and bar work, all the while whittling away my creative energy
job that society and statistics say I shouldn’t really be painting and crafting in my Mother’s garage. I was disappointed
doing, I’m of the opinion that the creative industry needs at my lack of achievements or prospects, but I clung on to the
to have a serious rethink of its recruitment process. possibility that I could make something of myself one day.

What’s the right way to shove your foot in that obscure gilded Fast-forward two years and life could not be any
door? Is it through skill, graft, talent or sheer luck of who you (or more different than I had expected. I now live
your folks) happen to know? These seemingly ‘elite’ industries, in London making TV trailers for the BBC.
can look totally inaccessible, and even with a relevant degree,
there are still no guarantees. A first or a 2:1? Does it even matter “It all seemed glamorous, fun, challenging
as long as you’re from the “right” background? If it is a mixture and totally inaccessible”
of luck and privilege, should university be challenged as the A lot happened in that intervening time, but it all started on a
de-facto route into a creative career? In my case, I would whim. I’d seen on Twitter that D&AD (who I’d never heard of at
probably never have gotten my foot in, had I not dropped out. that stage) wanted creative people without degrees to apply
for their night school. I thought, no shit, I’m eminently qualified
We’re all familiar with the supposed journey; get good as a ‘creative with no degree’. I picked out the best of my
GCSE’s, get good A-Levels, get into a good university, get garage pieces and fired them over amidst crossed fingers.
a good degree, get a good job and die happy. Simple as
that? Absolutely not. After finding myself with a handful of I did not expect to be shortlisted. Not at all. I was one of 30
less than half-decent A-Level results and rejected from my candidates invited to the D&AD office in mid-August back
first university choice, higher education still seemed like the in 2017 for their ‘challenge day’. As I made the long journey
natural stepping stone in the journey to this beastly thing from Birmingham to East London I had no idea just how much
we call adulthood. So as per the formula, off I went. I would desperately want to be part of the programme. The
day was an opportunity to learn more about the night school,
Roughly five months into studying for a degree in fine art as well as take part in a personal interview and collaborative
and graphic design at Chester, my father passed away challenges with the other candidates. The team had printed
unexpectedly. I struggled to settle away from home and and displayed some of our submitted work for an evening
had a self-destructive period which eventually led to me exhibition, where we nervously rubbed shoulders with
dropping out, giving it another go, then dropping out again. senior people from the industry who I didn’t know, but knew
I returned to my home city of Birmingham and spent the I needed to impress. I took the edge off with two too many
next six years trying to find my place in the world. glasses of red and gabbled about my love of EastEnders to a
poor chap called Olly (he is now one of my creative heads).
I never really knew what I wanted to do for a job, just that I I left London desperate to be part of the programme. D&AD
wanted to ‘be creative’, whatever that meant. I knew I had an seemed like a place where the door could surely be opened
eye for detail and an imagination, and wanted to use both skills for me. I knew nothing about the advertising industry, apart
whichever way I possibly could. I used to see those naff quotes from what I’d seen on Mad Men. It all seemed glamorous, fun,
on wall plaques and fridge magnets which read ‘do what you challenging and totally inaccessible. After that first day though,
it seemed like it might not be totally inaccessible after all.

66

The following Monday on the way home from work, I received “The path to this point had gone just
a phone call from Hilary, the fabulous human being leading the about as far off-script as I could have
programme, whose joy-sparking tendencies would put Marie imagined, but I was here at last”
Kondo to shame. She informed me that they wanted me in the
night school and I can remember the perplexed look of my University wasn’t for me. That doesn’t mean it’s without
fellow commuters as I squealed with joy on the number 50 bus. benefits. Independent living, theoretical learning, 60p shots.
Your CV is certainly a lot shinier for it, and in a personal sore
And so it began, D&AD’s New Blood Shift programme started spot for yours truly, the proud look of parents seeing you
in October. It was twelve weeks that were punctuated by graduate must be nice. I commend anybody who can hack
twice-weekly trips down to the big smoke, with the odd the three years and come out of the other side smiling. What
Saturday thrown in. Each evening would involve a session Shift offered brought me back in from the cold, teaching me to
at an agency, starting with a few scamping sessions at harness and monetise my skills, giving me access to contacts
Superimpose Studio, and finishing with a celebratory and an industry I felt that I had no right to be part of.
Christmas session at Saatchi & Saatchi. Everything in-between
I drank up, falling in love with insights, ideas, and ways Validation of your worth as a creative of is hard to come by
of working I never really understood could be monetised. at the best of times, but harder still when you don’t really
Suddenly I looked back at university as a tiny blip on my understand where your skills belong. If university isn’t on
life radar, rather than a time which needed to define me. your to-do list or your plans happen to change, don’t let
that stop you. Be relentless in the pursuit of your passion.
The work was far from easy. We were set a trio of briefs to Graft and keep knocking on doors, even if society tells you
work on over our time on the course. We were given constant you’ve no right to be knocking on them. Quiz those who’ve
feedback from industry heads at the top of their game, and let arrived into the industry late, or through a side door and
me tell you, no punches were spared. If our work wasn’t up to keep an eye out for the employers who understand the
scratch, we knew about it. Resilience — I discovered — is one value in building teams who can challenge and learn from
of the sharpest tools you need in your skillset as a creative, as one another. If a fridge magnet tells you that you can’t
90% of the work you do is guaranteed not to get seen. Shift or shouldn’t do it, throw the bloody thing in the bin.
prepared us for this as we were constantly challenged on our
creative decisions, the more I was challenged, the harder I
grafted to make the work better, the thicker my skin became.
have support on their day-to-day travel expenses like I did.

67

Brutalism

&
Conversation

Design is more of a
conversation than a monologue.

68

Brutalism
69

_6 The Tip of the Iceberg

by Alec Dudson Opinion

The recent revelations from Everpress world’s attention since 17yr old Darnella Frazier uploaded her
serve a stark warning that workplace ten-minute video of George Floyd’s murder to Facebook.
racism is still a systemic issue in the
creative industries. “The black experience in the workplace
is fundamentally different in the UK to
The creative industries like to think that they don’t have a the white one”
diversity problem. They do. They like to think that they aren’t
largely composed of systems that reinforce structural racism. In a trend which quickly swept Instagram, well-meaning
They are. They like to work with Black talent, but they don’t individuals were for the most part unintentionally clogging up
build systems that enable talent to rise to positions of power the BLM hashtag and as many are coming to realise, their error
and influence. They like to present that they’re engaged and was a condition of their privilege. Much has and will be said
responsible, yet for a sector with communication at the core, about this and as individuals, all white people need to use
they seem largely unable to avoid tripping themselves up with this opportunity to learn about and unpick the conscious and
empty sentiments, acts of virtue signalling and statements subconscious biases that they carry with them daily. The grace
that are direct, harmful contradictions of their actions. and empathy with which the Black community has responded
to misdirected individual sentiment, speaks volumes to their
I set up Intern in 2013 to challenge the reductive systems strength and resolve in the face of a lifetime of being ‘othered’.
within the creative industries that make it incredibly hard
(and in many cases impossible) for marginalised people to Understandably, a little less forgiveness from all corners
access the industry. While there has been some progress in was afforded to brands and companies who appeared to
the culture around internships — where unpaid ‘opportunities’ happily jump on the bandwagon, often unable to resist the
completely exclude large sections of society — little work opportunity to make a hollow statement which their actions
is being done at a structural level to look after and care up to that point lay in direct contrast with. As a brand, if
for those diverse voices if they arrive in junior roles. The you want to reap the benefits of being an established and
past month has placed a well overdue focus on how the visible entity, you have to truly understand the responsibility
workplace is often a deeply problematic space for Black that comes with that platform. Across a range of sectors,
employees at all levels and sectors, safe to say that the frustrated audiences called out the performative actions of
creative industries have not emerged unscathed. companies, which depressingly seemed to jolt many into
considering those contradictions, for the very first time.
Blackout Tuesday, which morphed from an initiative by
Jamila Thomas and Brianna Agyemang under the hashtag One response, in particular, stood out in our network, that
#TheShowMustBePaused, emerged as an unintentional of Cory Edwards an ex-employee of (ex) go-to t-shirt
trap that many creative businesses proceeded to tumble pre-sale platform Everpress. Across three initial posts, Cory
into. Within hours of the trend to upload black squares to detailed a string of discrimination suffered during his time at
Instagram — often with either no comment or using the the company. In many cases, the actions were overtly racist,
hashtag #BlackLivesMatter — there were calls for people to including being told that he was “like a Bounty” and that the
understand that this was, in fact, a hindrance rather than a help. only reason that he hadn’t been fired was that he was “the
only Black guy” at the company. That Cory was subjected
During times of protest and organisation, the BLM hashtag to that may come as a surprise to our white readers, yet
is a widely used means of sharing vital information, quickly, I suspect for our Black readers, it won’t. I sincerely hope
not to mention its existence as an archive of police brutality that this last month has been eye-opening in that regard.
that can reach wide audiences before media or political As we’ve discussed before, the Black experience in the
censorship can interfere. It’s not a perfect system of course, workplace is fundamentally different in the UK to the white
but an adaption of existing technology and connectivity that one. If you don’t believe that, it’s high time you woke up.
has helped to organise a movement which finally has the

70

Brutalism

In a trend which quickly swept Instagram, well-meaning As we’ve discussed before, the Black experience in the
individuals were for the most part unintentionally clogging up workplace is fundamentally different in the UK to the white
the BLM hashtag and as many are coming to realise, their error one. If you don’t believe that, it’s high time you woke up.
was a condition of their privilege. Much has and will be said
about this and as individuals, all white people need to use Even more heartbreaking in Cory’s account, was that when
this opportunity to learn about and unpick the conscious and he made the company aware of what had happened, aside
subconscious biases that they carry with them daily. The grace from an initial expression of outrage, no action or investigation
and empathy with which the Black community has responded seemed to follow. As an employer, you have a fundamental
to misdirected individual sentiment, speaks volumes to their duty to ensure that your employees feel safe and supported
strength and resolve in the face of a lifetime of being ‘othered’. in the workplace and there should always be thorough
processes in place for anyone who feels like they’re being
Understandably, a little less forgiveness from all corners mistreated. Somewhat predictably, later when Cory’s conduct
was afforded to brands and companies who appeared to was called into question by Everpress, a full investigation took
happily jump on the bandwagon, often unable to resist the place. Cory’s issue it seemed, was not deemed as important.
opportunity to make a hollow statement which their actions Just let that sink in for a second. One of your staff tells you
up to that point lay in direct contrast with. As a brand, if that they are the victim of racist slurs in the workplace,
you want to reap the benefits of being an established and you decide that isn’t worthy of a proper investigation.
visible entity, you have to truly understand the responsibility
that comes with that platform. Across a range of sectors, Three days after Cory posted and hundreds of Instagram
frustrated audiences called out the performative actions of users took to both his posts and Everpress’ fabled
companies, which depressingly seemed to jolt many into #TheShowMustBePaused post to voice their disgust with
considering those contradictions, for the very first time. the company for their conduct, a statement emerged from
founder Alex Econs. It did not make for comforting reading.
One response, in particular, stood out in our network, that
of Cory Edwards an ex-employee of (ex) go-to t-shirt In the first page of four, the statement almost immediately calls
pre-sale platform Everpress. Across three initial posts, Cory Cory’s account into question, an act of gaslighting that did little
detailed a string of discrimination suffered during his time at to convince those who had been awaiting a response of its
the company. In many cases, the actions were overtly racist, sincerity. “This incident raises issues far beyond how we have run
including being told that he was “like a Bounty” and that the our business” was another poorly chosen sentiment to include
only reason that he hadn’t been fired was that he was “the and gave the impression that Econs was unprepared to assume
only Black guy” at the company. That Cory was subjected full responsibility for the experiences of an ex-employee.
to that may come as a surprise to our white readers, yet
I suspect for our Black readers, it won’t. I sincerely hope Influential creators including Rachel Chinouriri, Josh McKenna
that this last month has been eye-opening in that regard. and Amanda Jasnowski Pascual swiftly poured scorn on

71

“It’s not good enough that Cory speak an awful louder than words in this regard. Writing this
experienced all that he did, it’s even opinion piece as a CIS white male, I do so acknowledging my
worse that he and countless others have privilege. I take no pleasure in writing about the injustices that
to summon up the courage to call out others have suffered. My belief when I started Intern remains
perpetrators in a public forum” unchanged. Diversity in creative communication and culture
is vital in building an empathetic, rich society that is bettered
the response, amongst some unconfirmed accusations that through sharing fundamentally different perspectives. I don’t
comments on the post were being deleted. Econs did include aim to be a saviour, nor is that what drives me, but I’ve
his email contact details at the end of the post along with an always felt compelled to use my opportunities to try and help
invitation for people to call him to discuss the matter, but it was others. Everpress are not alone, rather it’s my understanding
not an offer that seemed to gather much traction. While it’s that they are a fairly typical example of what Black people
important to note here that there is a willingness on Econs’ part experience in the creative workplace.O opportunities to
to talk to people on the matter, it seems to have largely been try and help others. Everpress are not alone, rather it’s my
undermined by the tone of his non-apology and subsequent understanding that they are a fairly typical example of
posts that have further called his leadership into question. what Black people experience in the creative workplace.

The statement issued thus far strikes Junior as “a cop- The recent revelations from Everpress
out” with a focus on damage control that seemed typical serve a stark warning that workplace
of their attitude towards “problem” employees. Watching racism is still a systemic issue in the
colleagues go unpunished for the very actions that you’re creative industries.
being reprimanded for is a degrading experience that eats
away at your self-worth. When underpinned by subconscious If you’re not a business owner, then you can still make
bias, it’s particularly poisonous and insidious. Niellah Arboine a difference by turning up the pressure on those who
wrote on this subject for us in 2018 and it’s painful to see that systematically fail their black staff. That there have been
the misogynoir that she warned of is rampant at Everpress responses is something of a positive, but now is not the
and many white-owned creative businesses like it. It is not time to be patting Everpress — or any other company
good enough to just expect people to get along, you need shamed into action — cheerfully on the back. The new
to establish a clear framework for your workplace culture. page created by Everpress in response to the fallout from
Cory and Junior’s statements, which amusingly can’t be
In a 2019 talk at Forward Festival entitled ‘Use Your Workplace navigated to from their site, outlines a £5000 donation
to Create Change’, Kate Moross outlined a range of measures made by the company and was initially unclear about
that businesses can implement in order to better ensure that how their share of the money raised through the platform in
response to the BLM movement was being handled. Following
“If as an industry, we can’t take the release of this piece, the page has been updated.
responsibility and lead by example, why
should we retain the incredible privilege Many creators have already moved their projects from the
of making work that speaks to global platform, particularly those who are raising money for BLM, bail
audiences?” funds and justice campaigns. It’s also worth noting that until
Cory’s statement, the charity campaigns at Everpress operated
a healthy and genuinely inclusive environment is experienced without the company contributing to the cause, at all. Everpress
by all. If business owners and operators can engage with typically run these campaigns at cost, which is very different
and understand privilege and intersectionality (in all their from donating. In posts like this one listing their 11 favourite
forms), then firm foundations can exist from which to build fundraiser t-shirts, it’s worth clarifying that the donations from
that positive space. Kate detailed writing inclusive job adverts ‘profit’ come entirely from the creators’ revenue. Alex Econs
and using the workplace as a space for education amongst reached out to elucidate that, on average, around a third of the
their recommendations, but this remains one of the few times price of a product sold on the platform goes to the creators,
that a business owner with a similar platform has chosen to a third covers production costs and a third represents profit
(rather than being asked to sit on a themed panel) speak share for the business. All businesses have to cover costs, but
on this topic. Creative business owners need to step up and there’s been a long history of Everpress leaning in heavily on
offer more of the leadership that is often claimed in their the “money they raise” and despite their change of tack on
LinkedIn bio. Actions, as we’re all acutely aware right now, BLM projects as a move to stem the tide of creators leaving
the platform, it feels like the image they project outwardly,s.

72

Brutalism
73

_6 No Regrets Opinion

by Jack Williams

Studying art and design is often framed sleep with odd people, eat kebabs five nights a week, and
as a risky decision. Jack Williams maybe do a little bit of work at some point in the middle
argues that instead of shaming students of that, etc etc, graduate then get a real job. It’s how Dad
for choosing to follow their passion, we did it, it’s how Mum did it, and it’s how you’ll do it too.But so
ought to look to universities to teach many people view the actual act of getting a creative degree
them how to make their skills relatable itself as a mistake. There is constant discussion in the press,
to working life. ranging in the political spectrum from The Guardian (Is your
university degree barely written the paper it’s written on?) to
I was at a party a few weeks ago when someone began The Telegraph (Our over-funded Universities are spawning a
the discussion of the stupid things we did as teenagers. A nation of educated paupers).These articles follow a strikingly
few arrests popped up, a couple of VD’s, someone once similar set-up; a statistic, calling back to an earlier simpler
threw a brand new PlayStation out of fourth story window in time when only the wealthy could go to university, followed by
a misguided attempt to impress a girl (he failed).All of these calling arts university a “noble” and “admirable” pursuit before
paled in comparison to the crowning achievement, coming lamenting the “useless” degrees that people do (mostly arts
from friend who told us, without hesitation, that he once was or creative degrees, with a specific shout out to the folk music
kicked out of a Major Lazer concert for being obviously and course at Newcastle).Finally, they present their coup de grace;
unapologetically underage. He then went outside and, in his the unimaginable horror that comes with a graduate working
frustration, headbutted a concrete pillar.He paused while we as a plumber, or a babysitter, or even as Sonia Sodha put in
laughed, then reminded us that less than three months later The Guardian last year, a caretaker. God forbid. Oversimplified
he was allowed to take out a £27,000 loan so he could get a and under-considered, these writers make the choice to place
fine art degree.We all laughed again at his expense, and then the blame on students who pursue degrees in the arts even
we all realised that we had done similar things, just without after the realisation that they are doing what is told of them
a concussion due to concrete-cranial impact.University years by “the adults”. This is an idea and psychological choice that
have typically been viewed by the older generation as the merits in itself not just an article, but perhaps an entire book,
prime time to make mistakes. You get questionable tattoos, and definitely the further consideration of their readership.

74

&Conversation

“The fix to this cannot be to disallow and not the universities that are educating them?
students from studying the topic of
their choice, and force them into It’s hard to argue with these metrics, but some of this doesn’t
something more immediately and monetarily really add up. The average graduate in the UK makes £6,000
practical.” extra per year than the average non-grad. But there’s also
a valid comparison here to one of the “safer degrees”.
The standard for university success has become entirely
wrapped in something that measures to the advantage of The Higher Education Statistics Agency (HESA for short)
universities such as LSE or LBS; the standard earning of students published their most recent statistics in 2017. Any statistic-
upon graduation and beyond. And, if gauged purely by that heads out there should take a minute and go and play
standard, the outcome is not admittedly great for art students. with their graphs; data compiled over the course of four
years shows where students ended up with their degrees
Taylor McGraa, Education Officer at Goldsmiths University’s in practically every category you could imagine; race,
student union, puts it best; “With a hard focus on graduate gender, health, upbringing, what kind of work they do now
outcomes and ‘employability’, there is becoming a bit of a (with 64% in permeant contracts and 6% self-employed,
skills gap in the skills needed for a healthy, happy working it’s still a long way to go until the work revolution).
life. Learning to manage workload, giving yourself boundaries,
listening honestly to others and communicating with patience It is tempting to check the box to sort by unemployed on each
are things that just aren’t spoken about nearly enough.” one, but it is a statistic that doesn’t actually tell the full story. It
is deeper aspects of these statistics, like the fact that you are
Depressingly, the median male arts student earns less than they more likely to find work in the UK if your parents didn’t have
would have done if they had simply never gone to university, education beyond university or that you are far more likely to
while the average female student only earns 6% more than go into academia if you went to a private school may be facts
their non-graduate counterparts. This is a problem, and one that do not surprise people, but they are certainly worth noting.
that needs to be addressed if for no other reason than to
allow art graduates the space to breathe upon graduation. “Doing an art-based degree is risky, but
it’s no riskier than doing a degree in
But the fix to this cannot be to disallow students from something that we view as “safe” such as
studying the topic of their choice, and force them into computer science.”
something more immediately and monetarily practical.
Even with this knowledge, when I spoke to arts students In 2016, the government commissioned a study by Sir Nigel
they do not regret their choice of degree the least. Shadbolt, the Professorial Research Fellow in the Department
of Computer Science at the University of Oxford, to figure
Freya Edwards, a graduate from Chelsea College of Art, out what was causing this divide. He responded by calling
believes that while “fine art, and the way it was taught… the hiring gap for a “matter of great urgency” before laying
was more about teaching you how to question and explore out ten recommendations to fix this problem, highlighting
ideas than anything else, and having three years to explore the lack of understanding on behalf of both SME’s and large
your ideas about the world is such a gift”, that “the course internationals as to what to expect from new graduates.
could have provided more information and guidance Essentially, companies expect veteran experience and ability
about practical things that most students will probably to fix problems but with a graduate price tag, causing an
need once they finish studying; such as how to organise influx of jobs available to those at the top of the market
your finances if you decide to become freelance.” while those at the bottom scratch out a living in piece work.

And there’s a dynamic that is worth addressing. Rather Funny how similar that sounds to the exact problem in
than shaming students for following their interests, the the arts. And yet, there have been no recent reviews
onus needs to be on Universities to teach students how to to try and address this problem for creative graduates.
sell their work as transferable skills upon graduation. Instead, there is questionable journalism followed by claims
that creative degrees are not economically viable.
In a report titled ‘Generation Regret’ by insurance company
Aviva, 37% of graduates feel that they regret their degree Taylor McGraa again puts forward; “Currently, the government
choice, with a further 49% feeling that they would still uses graduate earning stats to determine how high in the
have ended up in the same place without their degree. A league tables a university should be. Because of this, we
massive 80% felt that they were not getting enough out will start to see more and more universities trying to get
of university given the £9,000 price tag that goes with their graduates into the highest earning jobs as quickly
university. But can it be said that the issue lies with students as possible… It’s a system set to fail, and one that will

75

&Conversation

only serve to deepen the skills gap even further.” “Students must be able to make their
choice in the knowledge that there is a
The realisation you have pretty quickly is that there is a divide higher body ready to teach them how to
in what is expected of university graduates. Doing an art- make their skills relatable to working
based degree is risky, but it’s no riskier than doing a degree in life.”
something that we view as “safe” such as computer science.
The worst thing we can continue to do as a public is look
Our metrics for success are skewed and so limited as long at struggling graduates and tell them, “well, sorry, but that’s
as they are dependent upon one thing; whether your just the way it is.” Students must be able to make their
bank account is credited more than £25k per year, and if choice in the knowledge that there is a higher body ready
your skillset keeps the economy ticking along nicely while to teach them how to make their skills relatable to working
right-wing pundits and think tanks continue to call out the life. They must follow their passions, not their pockets, for
student living in luxury studying underwater basket weaving the choice that will undoubtedly change their lives.
and sleeping until 4pm. Their favourite boogeyman studies
art, hasn’t worked a day in their lives, and never will. It’s hard to argue with these metrics, but some of this doesn’t
really add up. The average graduate in the UK makes £6,000
Meanwhile, the exemplar of a “useful” student studies STEM, extra per year than the average non-grad. But there’s also
immediately gets a job upon graduation, and gives back a valid comparison here to one of the “safer degrees”.
concrete and measurable contributions to the economy. In
neither case can I say for certain someone like that exists. The Higher Education Statistics Agency (HESA for short)
As with all things, the area is grey at best, but one thing is for published their most recent statistics in 2017. Any statistic-
certain; universities cannot exist to purely bring around short heads out there should take a minute and go and play
term economic benefit, but rather, they must strive to enrich the with their graphs; data compiled over the course of four
cultural intellect of the nation they represent while assisting their years shows where students ended up with their degrees in
student bodies in maintaining their lifestyles after graduation. practically every category you could imagine; race, gender,
Meanwhile, the exemplar of a “useful” student studies STEM, health, upbringing, what kind of work they do now (with
immediately gets a job upon graduation, and gives back 64% in permeant contracts and 6% self-employed, it’s still a
concrete and measurable contributions to the economy. In long way to go until the work revolution).what kind of work
neither case can I say for certain someone like that exists. they do now (with 64% in permeant contracts and 6% self-
As with all things, the area is grey at best, but one thing is for employed, it’s still a long way to go until the work revolution).
certain; universities cannot exist to purely bring around short
term economic benefit, but rather, they must strive to enrich the Just stay away from concrete pillars
cultural intellect of the nation they represent while assisting their before making your decision.
student bodies in maintaining their lifestyles after graduation.

76

See you in the next issue of
Art&Design.