IDI Creative Axis - Institute of Designers in Ireland

IDI Creative Axis

President’s LetterWell that flew by! It seems like only last monththat Arthur Duff handed over the mantle, witha look of relief in his eyes. I have manyreasons for saying that I have enjoyed my termas president thoroughly, but top of the listwould be the teams I have worked with on themany projects, events and publicationsthroughout the year. It has been action-packedand that’s down to the gracious participationof our council and members. I am hopefulthat more and more of you will continue tobenefit from taking part in the many initiativesalready begun and maybe even start up someof your own.2006 saw an upsurge in our profession,both commercially and creatively. I amconfident that this momentum will continueand that design will be recognised as avaluable resource, both to industry and toour daily lives. Design Week reached newlevels of success and recognition in 2006and looks set to replicate, if not surpass, thistriumph in 2007. Our own IDI ‘Eye’ awardswill take place in October and planning isalready underway. We will once again beexhibiting the winners, highly commendedand commended and hope to publish a newcopy of the Best in Irish Design handbook.The Frank Ryan Student Travel Bursarywas officially launched and the board are busycompleting the details for the 2007 call toentry. Details will be released to the collegesand on our website soon and I am in no doubtthat the response will be fantastic. We arealways grateful for any contributions to ensurethe future success of the bursary. If you wouldlike to make a donation, please contact us forfurther details.I hope you enjoy this latest issue ofCreative Axis and that it conveys the breadthof activities undertaken each year by theInstitute. Thank you to those who havecontributed their time, energy and goodnatured banter to this year’s programme.I hope to see you all at the many upcomingevents. Thank you especially to Rina Whytewhose constant energy astounds. I wishTracy Fahey, our incoming president, the bestof luck. I hope you get as much pleasure fromyour term as I did.Cameron Ross

2 IDI NEWSIDI Publications 2006By Cameron Ross MIDIDespite a very busy year, with countlessevents, the IDI Council managed to publishseveral publications with great success.The amount of time and effort that goes intoany publication can never be underestimatedand I applaud all those who have given freelyof their time to record important milestones,events, thoughts and strategies in thewritten word.First off, I feel it is important toacknowledge the success of the redesignedand redeveloped IDI website. With design byKaren Hanratty and a CMS sponsored by Ebow,we now have a web presence that is worthy ofthe Institute. Amended almost daily, thewebsite (www.idi-design.ie) has fast becomefirst port of call for notifications on all that’snew in the world of design. It also provides indepthinformation the Institute, a fullmembers listing and calendar of events.The first IDI Best of Irish Design Handbookwas published late last year. A chronicle of theWinners, Highly Commended and Commendedfrom the 2005 IDI Awards, the book waspublished in association with EnterpriseIreland. Distributed to both our members andclient companies of Enterprise Ireland, thebook has been a fantastic tool in thepromotion of excellence in design to both thedesign profession and to industry. The teamwho spent countless hours collating the dataand First Impressions, who designed the book,should be highly praised for what can only bedescribed as a huge success. From thefeedback received to date, I think this will bea very welcome addition to the IDI library. Thenext edition will go into production followingthe 2007 IDI Awards.Frank, the Belfast based design firm, kindlyoffered their time and design skills to thedevelopment of the IDI Information Pack.Designed for those interested in membership,sponsorship or general information regardingthe Institute, the pack is eye-catching,enlightening and filled with facts promotinginvolvement in our community. It also containsa quote from our patron, President MaryMcAleese and will be incredibly useful to theCouncil as a marketing and promotional tool.A new initiative to the IDI is the creation ofthe Why Design? pamphlet. A brainchild ofMartin Gaffney, supported by the educationalrepresentatives of the IDI, the pamphlet willbe distributed to all second level educationalinstitutions in the country as a promotionaltool for the design profession. Outlining thebenefits of design as a viable career choice,its innovative layout by Designworks will surelyencourage and inspire a new generation ofdesign professionals.This issue of Creative Axis has been our firstin a while. The daily updates on our websitehave made it difficult to collate enoughinformation to publish regular issuesthroughout the year, but this is something weaim to change in 2007. We are aware of theimportance of printed material to ourmembers, both as an archive and as a physicalcelebration of all that is achieved by theInstitute on a yearly basis. I ask that youcontinue to support the continuation ofCreative Axis by contributing articles, reportsand news as often as possible.Finally, I would like to thank Gillian Reidyfrom Penhouse Design for once again takingthe design of the Annual Report on board. Asyou will notice, we have reverted to a moreformal format this year, with emphasis on theofficial records of the Institute takingprecedence over activities and reports. Thesehave now been relegated to the supportingCreative Axis issue.I hope you have enjoyed some or all of thesepublications and welcome contributions fromall members on any future programmes. Weare constantly looking for designers,contributors and editors, so if you have theinclination and the time, please get involved!Cameron Ross, President of the IDI, is Managing Directorat Newmedia, one of Ireland's most awarded multimediadesign firms. For information and client details, pleasevisit http://www.newmedia.ieIDI AGM andWebsite launchThe IDI AGM in 2006 was held on the 20th ofApril in the RIAI. The AGM was well attendedand the new IDI website was launched thanksto Karen Hanratty MIDI and EBOW. Thewebsite is now updated regularly and receivesa huge amount of hits. The regular emailednews updates are being signed up for via thewebsite on a daily basis and it is a greatfacility for IDI to publish information to morethan members of the Institute.

6 EDUCATIONmyself as well as hand drawing I believe youneed to understand the principals ofgeometric shape, line, form and shade tomaster either. I believe that you must to instilladaptability in students. The pencil and brushhave been here for a long time, butapplications like Photoshop and 3D renderingpackages change all the time. Many studentsbecome accomplished in one application andare surprised to when they go into industry tofind the office they work in is using somethingdifferent or that their package has becomeobsolete.As design educators the projects we set forstudents should encourage them to explore arange of problems and develop their ownproblem solving skills.There are a lot of things as designers thatwe have no control of, but as design educatorswe must teach our students to be activelyresponsive to the sociopolitical andcommercial needs equally.Deirdre Doherty MSc.BA ANCAD MIDI is CourseDirector of the Faculty of Design, Griffith College Dublin.She is currently completing a post-graduate inTeaching and LearningKevin Finn VisitFollowing an IDI visit to the NCAD Graduateshow and reception, kindly hosted by NCADand organised by Angela Woods MIDI,Kevin Finn, Joint Creative Director ofSaatchi Design, Sydney, presented to anumber of members, designers and studentson a variety of topics including travelling,working with ideas driven design, how hefinds working alongside an Ad Agency, designwriting etc. in Australia.Kevin has been working in the designindustry for over a decade, the first 3 years inDublin, part of which was with Steve Averill'sstudio. He has been travelling the world since1997 and has worked in New Zealand andSydney, where he has been for the past sixand a half years.Kevin is an award winning desinger,including a D&AD Silver for Typography(Britain) in 2002, a Type Directors ClubJudges Choice (New York) in 2003, as wellas a number of Australian national awards.He is also a member of AGDA (the AustralianGraphic Design Association).He is founder, editor and designer of'Open Manifesto', currently the only Australianjournal of critical writing on graphic designand visual communications. Issue#3 iscurrently in progress. A recent mention fromRick Poynor on www.designobserver.comstated: "Open Manifesto... is an ambitious bidto enter Emigre and Dot Dot Dot territory".The Design Research Group –Who, what and why?The Design Research Group of the NationalCollege of Art and Design was established in2005. The members of the DRG, Bob Gray(Red and Gray Design), Feargal Fitzpatrick(Lecturer Core Studies, NCAD) andDr. Ciarán Swan (Associate Lecturer, VisualCulture, NCAD) met while teaching in theDepartment of Visual Communications inNCAD in 2004/2005 and immediately sawan opportunity to bring together visualcommunications practitioners, tutors andtheorists in order to consider issues of visualcommunications practice and theory. In otherwords to start up a conversation about the roleand function of design and how we can goabout understanding it.A programme of events for 2006/7 was puttogether by us and as a part of that we hostedthe first Design Research Group Conferenceentitled: What Does it Take? Design, Research,Economy, Society. The Conference was held atthe NCAD, on the 7th of April 2006. The DRGinvited speakers from the design industry inIreland to give presentations and participate inround-table debates on contemporary issuesfacing the industry. A keynote speech wasgiven by designer and design historian ConorClarke, author of the definitive study oncontemporary Dutch and Irish graphic design,Oranje and Green.Since then the DRG has been working onfurther events. The most recent of these wason the 2nd of November 2006 in the NCADwhere the DRG hosted a panel as part of the“Rethinking the Everyday (Material Culture)”Conference. We were fortunate to haveinternationally renowned designer, KenGarland, as our keynote speaker on the day.However, we’re not restricting our activities toconferences. We’re now teaching a ResearchMethodologies module as part of the NCADPost-graduate programme that contains aseries of seminars developed by ourselveswhich seek to utilize an awareness of designthinking and research in such a way as toinform design practice.Although linked to the NCAD the DRG isworking more broadly with a range oforganisations and institutions in order topromote design research on the island ofIreland. We are also keen to bring togetherstakeholders to discuss what the response ofthe design in industry and academia should beto fast changing social and economiccircumstances and what, if any, approachshould be made to government in order toassist the development of design.The DRG is establishing a weblog athttp://designresearchgroup.wordpress.comthat will go active in late Spring 2007.We sat down some time ago, sketched ourspecific areas of interest, and decided thatthree particular areas were important tous as individuals which could be representedthrough the DRG. These were Design,Representation and Society and you canexpect that the sort of analysis on the weblogboth by us and by invited contributors will fitinto these three categories. In part thesediscussions will, we hope, generate a printedpublication based on the researchareas outlined.On the level of engagement with industryand third level institutions we are keento promote more structured links betweenthe two and are in the process of organisinga workshop to be held on that issue inNovember 2007.It’s another challenge and we’re lookingforward to it.The Design Research group are:Bob Gray, Red & Grey DesignDr Ciaran Swan,The Department of Visual Culture, NCADFeargal Fitzpatrick,The Department of Core Studies, NCADCiáran OGaora,What does it take? conference, NCAD 2006David Joyce,What does it take? conference, NCAD 2006

EDUCATION7Shaping Perceptions –Opportunities for Professional Design Bodies in EducationIs there a role for a professional design body in design education today?Looking at the possibilities offered, the answer would seem to be yes.What are these possibilities? Where do they exist?By Tracy Fahey MIDICurrently, these educational opportunitiesexist from primary education to post-graduatestudy. As Iseult McCarthy pointed out at theIDI Past Presidents’ Meeting, theseopportunities exist in terms of accreditation,playing an advisory role to the TeachingCouncil regarding courses needed at primaryand post-primary level and taking a pro-activerole in terms of design education in schoolsand in terms of funding opportunities.For the importance of good designeducation cannot be underestimated.From our early years, we are unconsciouslyabsorbing lessons about design, how to judgewhat is user-friendly, what appeals to usaesthetically. According to socio-culturaltheories of learning, we absorb from what weare exposed to, what is around us. Like it ornot, at present the IDI largely talks to itself,to its membership of design professionals.We need to open up this conversation to alsoengage with the students, the peripheralpractitioners. We need to address their needsto ensure their involvement in the profession.Even at primary school level, design can beappreciated on an elementary basis withstudents encouraged to learn to discern gooddesign, and to make the connection betweendesign and users.At second-level, the need for clear andunambiguous design education becomesapparent. Design at second-level is oftenconflated with art instead of being regarded asa separate process with different values and adifferent methodology. This leads to amuddled view of what design actually is, andoften results in first year students atundergraduate level applying for courses indesign without any knowledge of what thecourse will actually entail. Attrition rates in1st year of undergraduate design courses.What can the IDI do here? Firstly, we needto raise awareness of design as a careerchoice. The publication of Why Design?, abooklet detailing courses and designdisciplines hopes to start clarifying this tosecond level students. There is also theinteresting template of the RIAI ‘ShapingSpace’ module produced for Transition Yearstudents; a detailed and attractive syllabusdesigned to attract interest in and raiseawareness of architecture.However, it is at undergraduate level thatthe need for involvement of a professionaldesign body becomes apparent. Like otherprofessional bodies (such as EngineersIreland, The British Psychological Society),there is the opportunity for the IDI to engagewith higher education bodies in setting up,monitoring and evaluating designprogrammes.With the current educational focus onlearning outcomes – what a student is able todo on completing a particular course – theneed for professional bodies in education hasnever been greater. Academic programmesneed continuing professional guidance to helpensure that programme learning outcomes areappropriate, and, even more importantly, tohelp measure if the graduates are attainingthem. In fact, the recent IHEQN conference in2006 is a testament to this need. Titled “AndNever The Twain Shall Meet..?” it was anexploration of the cross-over between highereducation and professional bodies. Alreadythere are designate educational roles that IDImembers could fill, as members ofprofessional advisory boards and as HETACexternal examiners.However, there are more integrated roles inprogrammes that need to be considered. Thereis a real place for expert learners such asdesign professionals to play a more visible parton design courses. These experts help ensurethat students are in contact with the designcommunity of practice. Design students existin a peculiar world. They work on briefswithout clients, they make mistakes withoutconsequences, they work in a simulated studioenvironment. Although few of them go on towork in design education, it is the classroomwhere they learn their design skills.It is therefore crucial to balance thisacademic environment with the involvement ofexpert learners to help foster the studentsense of identity as “peripheral participants ”in the design community. The educationalwriter Bruner, a great believer in situatedlearning, refers to “the schoolroom situated ina broader culture ”. Design students’ sense ofself-esteem and identity needs to be fosteredas an integral part of pedagogy, possibly byfacilitating their contact with moreprofessional designers. This is more than idletheory. As part of the IDI EducationCommittee, in 2005 I helped carry out asurvey of students to find out what theywanted from a professional designorganization. Those who responded wereunanimous – they wanted internships, real,hands-on experience of working withprofessional designers.Design education in Ireland is largely anundergraduate affair, with most studentselecting to go out and practice after finishingtheir primary degree. With students who leavethe system, there is a need to address theircontinuing professional development needs.With those who elect to stay on, the postgraduatepossibilities are also interesting. Atpresent, HETAC is defining the nature of postgraduatedesign research, something the IDIcould play a part in. The Design ResearchGroup is also completing interesting work inthis area. With the increasing role of R&Din Ireland, it offers the opportunity toengage in shaping the research culture ofdesign in IrelandTo summarise – this is a huge role and ahuge challenge. The IDI has the opportunityto widen out the design community to embracefrom learner to expert and to educate andengage them in the pursuit of good design.How much of what I have suggested isfeasible? For a voluntary organization thatsurvives on the hard work and generosity ofits members, the answer is probably not a lot.However, if we define a strong potential rolefor the IDI in design education in Ireland,and show that we have the talent, ability andexperience to take it on, funding opportunitiesmay open up.We owe it to ourselves to investigate theseopportunities. The rewards of suchinvolvement in design education arepotentially enormousI’m writing this in Stockholm where theelements of good design seem embedded inthe daily consciousness of the population;where well designed objects and systems areseen as a natural birthright and not as aluxury. Can education shape perception andhabit to such an extent? Perhaps over the nextcycle, the IDI will find out.Lave. J., Wenger, E (1991) Situated Learning: LegitimatePeripheral Participation, pp. 29-34, CambridgeUniversity Press.Lave, J., Wenger, E., (1991), Legitimate peripheralparticipation in communities of practice from SituatedLearning: Legitimate Peripheral Participation (1991),pp. 91, 94-117Glaser, R (1990), Expert knowledge and processes ofthinking, from Halpern, D.F. ed., Enhancing Thinking Skillsin the Sciences and Mathematics, 1990, pp. 63-75,Laurence Erlbaum Associates, Inc.Lave, J, Wenger, E, (1991) Learning and Pedagogy inCommunities of Practice from Situated Learning: LegitimatePeripheral Participation, Cambridge University Press.Tracy Fahey MIDI is Head of Department of Humanitiesin IT Carlow. She has completed an M Ed in education,focusing on design education.

8 REGIONAL NEWSNews from 3rd Level Collegesof Design around the countryInstitute of TechnologyCarlowIT Carlow, which runs the oldest IndustrialDesign course in Ireland, has developed a newhonours degree in Product Design Innovationthat focuses on the design, marketing andbusiness aspects to working as a designerwithin a company.Design students in the college won the topprize in the Vaseline graphic designcompetition to design a limited edition pot ofsalve. Five product design students were alsoshort-listed for the Bombay Sapphireglassware design competition, with onestudent, Catherine Boland receiving therunner-up award. The college continues itswork with SME’s (small to medium sizedenterprises), with eleven final year students,funded by Enterprise Ireland, who are workingin conjunction with local businesses todevelop relevant products.Another interesting area that is beingexplored is that of multidisciplinaryeducation. Design students have worked withmarketing students on projects, and a team ofindustrial designers have just finished a shortproject on Sustainable Mass-ProducedFurniture with furniture design students fromGMIT Letterfrack.Student work will go on display in June2007, and this display will coincide with thearrival at the IT of the IDI/Enterprise IrelandBest of Irish Design exhibition and linkeddesign event.Art Design & Printing@ DITThe main news from DIT is in relation to theprizes won by Design students. These winnersinclude:Linda Curtis, Vis Com year 3 Winner ofNational Tree Week Poster competitionAine Kierans, IDI Visual CommunicationGraduate of 2006Sarah Johnson, Winner of HamiltonOsborne King student Interior Designerof the Year 2006Gergor Timlin, runner up Habitatcompetition 2006.Cork Institute ofTechnologyOne of our main news items was the factthat on the 9th November, Fourth year VisualCommunications student Claire Horgan wasawarded first prize in the prestigiousGraphic Design Business Associations IDEAcompetition at a reception attended by manyof the key players in the design and mediaindustries in Jurys Hotel, Dublin.The Irish Design Effectiveness Awards 2006were held in Jury’s Hotel Ballsbridge onNovember 9th 2006. Created and managed bythe Graphic Design Business Association(GDBA). The awards were developed toshowcase the impact that the communicationsdesign sector has on commerce, governmentand anybody or organisation, large or small,that needs to deliver a message.Claire’s winning packaging designcompeted against stiff competition fromdesign students in NCAD, DIT and LimerickCollege of Art amongst others and is atestament to the high standard of work beingproduced by students of the BA (Hons) inVisual Communications.This academic year saw the introduction ofthe Industry Advisory Panel Graphic DesignAward in the BA Design Communicationsprogramme. This competition is designed toexpose students to industry-client briefs andto encourage and foster creativity as well asthe visual-verbal presentation skills requiredin Graphic Design within the restraints ofstringent deadlines.Over the course of 4 weeks, the studentsworked closely in their teams, with twomembers of the Media CommunicationsIndustry Advisory Panel; Frank Dowling ofSouthern Advertising and Jim Horgan ofConcept Advertising. The brief, provided bythe panel members, involved the design of aCorporate Identity for Carbury FoodIngredients and its application to signage,vehicle livery, stationary etc. The departmentand students involved are sincerely grateful tothe members for their involvement and thetime given to facilitate this initiative.Congratulations to the winning team;Brian McSweeney, Julie Scriven, Sally Ngaiand Martin Rotte.University of Ulster,School of Creative ArtsRecently the Design presence at UU MageeCampus left the School of Art & Design, whichwas predominately a UU Belfast based School,to form a new School of Creative Arts. ThisSchool is a new venture within UU combiningexpertise and Courses from Dance, Design,Drama & Music.Students can study Design on severalprogrammes at the Magee campus. Theseinclude the BDes Design and Communicationand MDes Design Communication which aredesign specific, or on shared programmes withthe Faculty of Engineering including the BScMultimedia Computing and Design and theMSc in Computing and Design. All coursescombine creativity and technology, fosteringexpertise in animation, characterdevelopment, film, games, graphics, imagemaking, illustration, interactive design,mobile devices, product, automotive andvirtual 3D. Student projects often overlap withthe other disciplines unique to the School ofCreative Arts and often with industry. The staffare currently research active under the Art andDesign category of the RAE, gaining a grade 5in 2001, which was joint first in the UK. Theyare working towards the RAE2008 presently.Several staff also provide commercialconsultancy as design professionals to a rangeof SME's, large international companies andon governmental programmes (NORIBIC WIN,NORIBIC TSP, Invest NI DDP). The CreativeArts will be formally launched at the endof March.Justin Magee, a senior lecturer in Productdesign from the School of Creative Arts atMagee, has recently secured funding of£250,000 in RCUK Academic FellowshipAwards, to develop his research in the areaof Digital Human Exploration. The projectbrings together thinking from Art and Designand Health Sciences in the area ofVirtual Biomechanics.Letterkenny Institute ofTechnologyWe currently have three programmes on offer;BA Graphic Design – level 7BA Industrial Design – level 7BA (Hons) Digital Media – level 8These programmes have proven to be sopopular that we are expanding to include thefollowing;BA Digital Media – level 7BA (Hons) Graphic Design – level 8MA Motion Graphics – level 9It is hoped that these programmes will beon offer from September next.This month the department received acommendation from the Digital Media Awardsfor the outstanding submissions made by ourstudents.Griffith College DublinThe Faculty of Design is an established facultyin Ireland’s largest private college, runs arange of successful and well-recognisedprogrammes in interior design and interiorarchitecture. Shiow Yee winning the IDIInterior Design graduate of the Year 2006.They are continuing to make links withprofessionals in Design and Architecture.The Faculty of Design is proposing two newcourses in fashion design commencingSeptember 2007.The first programme will be a level 7 BA inFashion Design. The second programme willbe a level 8 BA(Hons) in Fashion Design.The degree courses in fashion design offer acomplete university level training tocontemporary fashion industry standardsthrough the development of technical designskills and artistic cultural sensitivity. Theprogramme deals with all aspects of the textile- clothing ‘system’ from a comprehensiveknowledge of materials through to appliedcreativity. The course covers all areas ofmodern fashion design from idea generationand design development through to patterncutting, garment construction andcontemporary production techniques,including CAD and CAM modules.This programme has been developed withand is run in conjunction with the acclaimedNABA institute in Milan, who also work inpartnership with renowned industry educatorssuch as Central St. Martins in London.

REGIONALNEWS9Students who successfully complete the first3 years in Ireland, and meet the Italianlanguage requirement at the end of their3 years may complete their 4th year in Milanand produce their final year collection there.Semi-Bold launches in South Eastand Midlands RegionThe National College ofArt and DesignThere is a number of new initiatives in thearea of computer aided design, computeraided manufacturing, and a ‘KnowledgeTransfer partnership’ scheme with industry.KTP’s are collaborative mechanisms forbusiness and universities to work together toachieve productivity which can bring aboutstep changes for the company and benefits tothe University.All students are supervised by the Companyand the University. The project must havestrategic importance to the future successand growth of the Company business.Students work for the Company for one halfday to a day per week over an extended period.Traditionally students can work on a Companyproject for a period of one to three years. Wepropose an initial 4-8 week period.Experienced undergraduate and graduatestudents will be eligible for the KTPplacementThere are benefits to the companyincluding access to contemporary designers,access to University expertise across a broadspectrum of design disciplines, access to newtechnology, materials, knowledge and skills,access to research development and problemsolving facilitiesThe KTP model was put to NewbridgeSilverware in 2005. They are now in oursecond year of this scheme and have studentdesign work in production following an 8 weekwork placement in 2006.Thanks to the following;Deirdre Doherty MSc.BA ANCAD MIDI ,Course Director of the Faculty of Design,Griffith College Dublin,Derek Mc Garry, Lecturer, Metals Are,Department of Ceramics, Glass, and Metals,National College of Art and Design100 Thomas St, Dublin 8,Tracy Fahey M Ed BA MIDI, Head ofDepartment of Humanities, Institute ofTechnology Carlow,Orla Flynn MSc MICS MIDI, Head of Schoolof Humanities (Acting), Cork Instituteof Technology,Rose McGrath, Head of Department (Acting,Media Communications,Justin Magee MIDI, Senior Lecturer, ProductDesign and 3D Multimedia School of CreativeArts, Magee Campus,Seán Mackel BA Hons Graphic Design, PgDip,MCSD, MIDI, Prog Director: Master of Design:Design Communication, Faculty of ArtsErasmus Coordinator to Augsburg, School ofCreative Arts, Faculty of Arts, Magee Campus,University of Ulster,Kieran Corcoran, BA, MA, Head of Departmentof Design,Nollaig Crombie, Head of School of Design,Letterkenny ITSemi-Bold (a new design network for theSouth-East and Midlands region) was born inlate summer 2006 after yet another emailarrived announcing a great design event inDublin. Despite best resolutions, “Ok, I’llleave work really early, battle through trafficfor a few hours, arrive starving, shuffle aroundon my own in a corner and drive home with allthe windows open to try to stay awake”, it’snever really going to happen, is it?So instead of grumbling that nothing everhappens outside of Dublin, three agenciesfrom the region took action. Over a lengthylunch, the idea of Semi-Bold began to takeshape.The conversation between Anne from AKGraphics, Gill from Penhouse Design andSiobhan from Threeesixty ran something likethis: Wouldn’t you love to see some of thereally out there work that fills the pages inCreative Review but you never get to see inreality? What about hearing more about newprocesses and ways of working that are usedby the world’s most successful agencies? Weknow there are tons of really talentedillustrators, artists, photographers anddesigners working quietly below radarthroughout the region – how can we find them?Is anyone else fed up with having to shift theentire studio to Dublin just to access somedecent training? And wouldn’t it be great justto get together with other like-minded peopleevery so often and sink a few beers?Design Week was looming and despite thefact that time was short, the group decided tokick off SemiBold with a Design Week event.Invites to a talk by Cartoon Saloon were sentfar and wide throughout the region and wewaited and hoped for a good turnout.On the night Cartoon Saloon, an animationstudio based in Kilkenny, showcased two oftheir feature projects: Skunk Fu (a children'sanimation series which has been syndicated tointernational tv networks for 2007) and TheVoyage of Brendan (a feature film due forrelease in 2007). Paul Young, MD of CartoonSaloon, talked in his inimitable laid back styleabout the creative process, stunning theaudience with beautifully illustrated stillsfrom the Voyage of Brendan. All of the creativework is produced in their studio in Kilkenny bya team of about 70 people, and Paul followedhis talk with a tour of the production studio.The event was held in the Maltings, aconverted grainstore in Kilkenny, and the talkwas followed by some relaxed drinks in theirart studios. Die-hards continued to the MarbleCity Bar for further drinks and conversationinto the early hours.This was the first Design Week event in theregion and was really well attended by about50 people from the design community whotravelled from far and wide. The response tothe concept was overwhelmingly positive andthe Semi-Bold organisers are currently liningup a programme of events for 2007.If you are interested in hearing aboutupcoming events, just emailanne@akgraphics.ie or gill@penhouse.ie

10 PAST PRESIDENTSThe Institute of Designers in IrelandPast Presidents Re-union with IDI PatronPresident Mary McAleeseThe Institute of Designers in Ireland held its first Past Presidentsre-union on Friday December 8, 2006 at The Gallery in Farmleigh,Phoenix Park Dublin. The Special guest of honor at the event wasPresident McAleese, who is Patron of the Institute.The President viewed an IDI exhibition of thebest of Irish design which included examplesof award winning interior, product and visualcommunications design.In her address, President McAleese praisedthe work of the Institute since itsestablishment 34 years ago and added thatIrish designers are entitled to be very proud ofthe role they have played in Irelands successstory. President McAleese presented HonoraryMembership of IDI to Mr Martin Naughton anda Fellowship to Mr Gerry Brouder toacknowledge their huge contribution topromoting Irish design.The event was organised to announcedetails of the IDI development plan andto launch the Frank Ryan Student Bursary.Special guest speaker Toby Scott of theCentre for Design Innovation, presentedto the assembly and it is intended thatthis will become an important annual eventin the Institute's calendar.President Mary McAleese's speech:Tá an-áthas orm bheith i bhur láthair aran ocáid seo. Tá me buíoch dibh as ancuireadh agus an fáilte forchaoin a chursibh romham.I want to thank you all for the very warmwelcome, and special thanks go to CameronRoss, for inviting me to join you at the PastPresidents' Seminar and to present theFellowship Award and honorary membercertificates. As patron of the Institute ofDesigners, it is particularly good to be heretoday.We take good design for granted thesedays, as if the products of human labour fallperfectly and fully formed from the sky. Notso very long ago though, many of theappliances and gadgets around the homelooked more like items in a display ofindustrial archaeology. In fact, it has allhappened so fast that visiting small localmuseums I often see on display, to theamusement of my children, domesticimplements which I have used myself not solong ago. I don't accept that either they or Iare antiquities.It is to the credit of the Institute that thereis such a demand for good design,appreciation of good design and availabilityof good design today. The line between artand technology has been blurred, or moreaccurately blended, and we have grownaccustomed to an imaginative marriagebetween beauty, and functionality, aestheticsand usefulness.We expect designers to get basicfunctionality right, to show evidence that theyhave understood the technical expectationsof a product or service. They might evenenhance and develop those to an admirablelevel but then comes the area wheredesigners let loose a creative impulse that

PAST PRESISDENTS11takes us into a sphere beyond our oldcomprehension of purpose or task. Somepeople might call it the "wow factor" andthere is often more than an element ofwonder and surprise. There is also aleavening effect for good design also takespublic taste and expectation and educates it,just as it takes today's design and improveson it tomorrow.Of course none of that happens without thepursuit of professional excellence bydesigners in every discipline and thisInstitute has a very proud record of setting anagenda that insists on getting the best fromthe Irish design profession.It's not so long ago that our major exportwas beef on the hoof and, truth to tell, thatdid not present many design challenges.Today Ireland is one of the most competitiveand successful and globalised economies,trading an impressive array of goods andservices right around the world as well as athome. For designers in the old and newmedia, from industrial designers to DVDdesigners and all bases in between, survivaland development depend on being able tobring something special to those home andinternational markets where so many otherplayers are vying for attention and for a place.You are entitled to be very proud of the roleyou have played in Ireland's success story,whether through the indigenous ormultinational enterprise sectors, for Irishdesign has, by sheer effort, achieved cuttingedgesuccess in many areas and hassuccessfully gained an increasing share ofinternational business. But now, of course,having tasted success and watched it act as aleaven throughout society, bringing greaterprosperity than Ireland has ever known in herhistory, the truth is, people are hungry formore. And so today's innovative solution isalready hurtling towards obsolescence andthat keeps pressure on you, and on theeducation systems for designers, to be everrestless in pursuit of innovation andcreativity.The publication of the "Best of IrishDesign" book and the design 'roadshows' runby the Institute this year have played a keyrole in targeting the business and the designcommunity across Ireland and they havehighlighted the business benefits of design,as well as exhibiting the 'Best of Irish design'.Today though, the IDI Fellowship andHonorary Membership goes back to basics, tothe individual human person where all gooddesign starts. It recognises the role played byleadership in the design world and howessential it is to have inspired andinspirational people at the heart of the designindustry in every sphere. These are peoplewhose professional lives have helped ourcountry to become renowned throughout theworld as a culturally exuberant economicpowerhouse ? something we could haveregarded as unlikely only a short few years.This year's new Fellow, Gerry Brouder andnew Honorary Member, Martin Naughton, areboth to be congratulated on receiving thisimportant recognition of the hugecontribution they have made to pushing Irishdesign, and Ireland itself, to new levels ofambition and fulfilment of that ambition.Today is their day. We honour them bothwith gratitude that Ireland produces suchpeople today and that they so enthusiasticallymeet the challenge that lesser people wouldrun a mile from. The good news is thatIreland is truly only at the start of revealing itsfullest potential. This is the first generation tohave turned the tide of outward migration, tohave had the widest access to high-qualityeducation and training, to have had thechance to stay and build their careers inIreland. This is the first generation to feel theenergy surge and the self belief that comesfrom success. It's a journey we all want tostay on and, with your help, we will watcheven more remarkable chapters evolve. Oncewe looked to the future, half in hope and halfin despair, for that historically elusive thingcalled opportunity but things have changed.Now it is the present that is a very excitingplace. That is particularly true for Irishdesigners and we know that by using today'schances well they are already making thefuture a place to be proud of.Is iontach an obair atá ar siúl agaibh. Go n-éiri go geal libh. Go raibh míle maith agaibh.

12 FRANK RYANLaunch of the Frank RyanStudent Travel BursaryThe Taoiseach, Mr. Bertie Ahern TD, launchedthe ‘Frank Ryan Student Travel Bursary’ at theNational Museum (Kildare Street) onThursday 1 February.The ‘Frank Ryan Student Travel Bursary’ isbeing established by the Institute of Designersin Ireland to honour one of its mostdistinguished founders and life long members.The Taoiseach, who was introduced by thePresident of the Institute Cameron Ross MIDI,paid tribute to the life’s work of Frank RyanRIP who he commented, embodied the bestqualities of Irish design and left an enduringlegacy to this country.During his address The Taoiseachemphasised that design is inherent in allaspects of our lives, whether a buildingproject, an exhibition, fashion or visualcommunications and new media, good designhe added, is a place where function andcreativity meetThe Taoiseach complimented the Instituteof Designers on its important role in promotinghigh standards of design and in highlightingthe business benefits of design.The Taoiseach pointed out that the bursaryis a significant new award for design studentswho wish to pursue an internationaleducational opportunity or a design projectoverseas. Calling on support for the bursary,The Taoiseach encouraged both businessand design professionals to support thisworthy cause.The Taoiseach thanked the Institute ofDesigners and Frank Ryan’s family and wishedthe Bursary every success in the future.Speech by the Taoiseach, Mr Bertie Ahern,T.D., at the Launch of the Frank RyanBursary for the Institute of Designers inIreland at the National Museum onThursday, 1 February, 2007 at 2.15 p.m.Ladies and Gentlemen.I am delighted to be with you today tolaunch the Frank Ryan Bursary which isbeing established by the Institute ofDesigners in Ireland. This bursary will honoura man who during his lifetime played such apivotal role in the development of design, anddesign education, in this country. It is also amajor commitment to celebrating excellenceand exploration among our emergingdesigners.These days, the concept of design is soinherent to all aspects of our lives that it ishard to imagine a world without it. Whether itis a major building project, an exhibition,fashion or visual communication and newmedia, the quality of the design involved willhave a major impact on the success of theend product. In essence, good design is aplace where function and creativity meet.Frank Ryan, who sadly passed away lastyear, embodied the best qualities of Irishdesign and left an enduring legacy to thiscountry. When Frank started out studyingArchitecture and Commercial Art inRathmines, design education in this countrywas virtually non-existent. In the interveningtime, that situation has changed dramaticallywith recognised programmes across the fullrange of design disciplines. That is due in nosmall part to Frank and his dedication to thedevelopment of young designers. As a highlyrespected lecturer in the NCAD and GriffithCollege, he supported and influenced manyyoung designers at the outset of their careers.Frank was also a key figure in establishingdesign as a professional practice, particularly

FRANK RYAN13through the foundation of professionalsocieties such as the Institute of Designers inIreland. And in his own design work, Frankset the highest of standards in interior andexhibition design in this country. The qualityof his work is legendary as was his attentionto detail and his preference for uncluttereddesign. He summed up his own personaldesign philosophy in a memorable phrase –‘Simplicity is not for the simple’. That is amotto that should hold for so many otherwalks of life!I was honoured to meet with Frank on acouple of occasions at events down throughthe years when I saw examples of his work atthe Botanic Gardens and in All Hallows. Itwas clear to anyone who met him just howdedicated he was and it was often said that ifyou had Frank Ryan working on a design foryou, then you had nothing to worry about.There are so many areas of achievement inFrank’s life that it is impossible to mention allof them here today. But I could not let thisoccasion pass without paying particulartribute to his contribution to culture andhistory in Ireland through his work on thedesign of no less than 26 interpretative andvisitor centres in this country. Such was theextent of his involvement in this area thatsomeone once remarked: ‘you could almostput a roof over all of Ireland and call it TheFrank Ryan Experience’.Those who knew Frank speak of his talent,his endless energy and his dedication to thecause of Irish design. And I am sure thatduring his lifetime he took great pride in thegrowth and development of design as aprofession in this country. We now have morepractising designers than ever before andinternationally, Irish design has achievedcutting edge success in many areas.The Institute is playing an important part inpromoting high standards of design as well asprofessionalism and emphasising designers’responsibility to society, to the client and toeach other. Through initiatives such asDesign Week, and collaboration withEnterprise Ireland, you have played a key rolein targeting the business and designcommunity across Ireland and havehighlighted the business benefits of design.In addition, your Graduate Designer Awardshave fostered the talent of young up andcoming designers.The Bursary that is being launched todayis a significant new award for design studentswho wish to pursue an internationaleducational opportunity or a design projectoverseas. The intent of the bursary is toprovide assistance to cover travel costs,housing costs, materials and research. Itsestablishment will ensure that the majorcontribution of Frank Ryan to design inIreland, his vision and his influence will beremembered and will live on. It is a fittingtribute to a man who gave so much to theprofession. Of course, the sustainability ofthe Frank Ryan Bursary will be dependent ondonations and I would urge all with aninterest, and the design industry in particular,to support this worthy cause.It is great to have this opportunity to paytribute to Frank in the company of so many ofhis colleagues and his children, Aileen, Katy,David and Geraldine who are here today,along with Frank’s grandchildren and hisgreat grandchild. Frank’s brother Tony is alsohere to mark the occasion as well as his sisterAilish who has travelled all the way fromCanada especially for the event. This is animportant and an emotional day for all of youand one in which you can take great pride.Frank has contributed to so many aspectsof the development of design in Ireland that itis hard to do him justice in one short speech.Thanks must go to all who have made todaypossible, especially Cameron Ross, Presidentof the Institute of Designers of Ireland anddesigner Celine Cummins, who was Frank'scolleague and close personal friend downthrough the years.Thank you all for your kind attention.

14 FRANK RYANCitation to Frank Ryanin respect of the Griffith College Dublin Professional Excellence AwardChairman, distinguished guests, ladies andgentlemen, it gives me great pleasure to offeryou some brief insights into the outstandingcontribution made by Frank Ryan to thedevelopment of design education in Ireland.This award is recognition of Frank Ryan’scontinuing legacy to design and to designeducation. This legacy can be seen today inthe work of young designers studying on theprogrammes he helped to establish, joiningthe societies he formed and working within aprofession for which he set the standards.Back in the late 1930s when Frank studiedArchitecture and Commercial Art inRathmines, design education as we recogniseit today, simply did not exist.Part of the reason why this situation is sodramatically different today – why there arerecognised programmes today in exhibitiondesign, interior design, interior architecture,product design, visual communications,fashion design and new media – is down toFrank and his support, interest andenthusiasm for the development of youngdesigners.As Paul Hogan commented:“…In your career Frank you have gonebeyond mere professionalism and I see youas a wise and generous master craftsman,always prepared to share your skills andknowledge with others.”Frank’s own design education was basedon his studies in Rathmines and in theNational College of Art where he studiedposter design with the Dutch ProfessorRomein and drawing with Sean Keating RHAIt was in the National College of Art thatFrank first began to play a teaching role,starting in 1965, as a specialist tutor indisplay and model-making. However thisinvolvement with education quicklyincreased. In 1976 he also served asexternal examiner at the School of RetailDistribution and a committee member for theformation of a new School of Art and Design(now DIT at Mountjoy Square)In the same year Frank also began servingon a panel of examiners for the NationalCouncil of Education Awards now the HigherEducation and Training Awards Council.Here he worked with Michal Ozmin, someonewho has fond memories of travelling with himto Carlow RTC and Limerick College of Art forvalidation meetings.Frank enjoyed a warm relationship withNCAD, returning from 1983 - 2004 to act asvisiting project leader for an ExhibitionDesign Project with students.David Caron of NCAD’s VisualCommunication Department remarks that –‘among Frank Ryan's manyaccomplishments is his record as the longestserving visiting lecturer in NCAD'sdepartment of visual communication; he wasalso, certainly in latter years, the oldest. Hisactual age, it seemed, was a closely guardedsecret but I remember him telling me duringone of his visits to the College that he had justbecome a great grandfather. This informationappeared to be disclosed with a mixture ofenormous pride combined with mildamazement as if he himself couldn't quitebelieve it. Even taking into account thepossibility that he got married while still inschool, it had to mean that he was a man wellbeyond normal retiring age. But would youthink it? Not a bit. No visiting Lecturer wasmore lively, more vibrant, or had more energythan Frank. And of course his infectiousenthusiasm for exhibition design was, itappeared, effortlessly communicated to hisstudents who always produced remarkablyinventive project work under his tutelage.”Frank has always been a source ofinspiration and support for young designers,not least because of the genuine interest hehas always shown in their work.As his friend and fellow-designerJonathan Mason remarks“One of Frank’s most remarkable qualitiesis his youthfulness of spirit. He is alwaysinterested in what is new, what is happeningnow, in what young people are doing. Alwaysgenerous with his knowledge and experienceas a designer, always taking particularpleasure in teaching young designers.”In Griffith College, we also know this to betrue…In recent years. Frank has been involvedwith us in establishing the Diploma in InteriorDesign. He not only advised on the coursecontent, in conjunction with Sean McNulty,Gerry Brouder, Angela Woods and SheilaRobinson, but he also visited the college toact as external examiner on this programme.To the Design Faculty, Frank’s support andexpertise have been regularly sought onissues relating to programme development,with Frank playing an energetic role in thecollege’s evaluation of the programme in2004. Thanks to his experience, he hasenabled us to embrace new developmentswhile retaining the students’ primary focus onthe development of core skills. For Frank,computing skills are to be fully welcomed andexploited, but the traditional drawing skillsmust be maintained. According to Frank, “adesigner is someone who, when pressed, canalways draw a design on the back of anenvelope”, a maxim we frequently quote toour students.In addition to his roles in education, Frankhas also played key roles in establishingdesign as a professional practice. Since the1950s, Frank has worked with undimmedenthusiasm in the promotion of better designthrough professional societies. He was one ofthe seven designers who founded theInstitute of Creative Advertising (now ICAD).In 1972 he became a founder member of theSociety of Designers in Ireland (now IDI) andwas elected President of the Society in 1978.Frank has also been significantly involved inthe Society of Industrial Artist and Designersthe Office of Public Works and theCrafts CouncilFrank’s own work has ensured the settingof standards in exhibition and interior designin Ireland.As his collaborator Jonathan Mason remarks“Frank’s clarity of design has always beenoutstanding. It is what it does, and it doeswhat it is supposed to. No clutter, nosuperfluous decoration, everything thoughtthrough to the finest detail. As he often says,simplicity is not for the simple. Another ofFrank’s Maxims is ‘God is in the details’, andhe always expects the same attention to detailin others as he requires of himself.”Frank’s career in design started in 1942,with an apprenticeship in commercial art andwindow display, moving on to work as themanager and designer for displaycontractors, Donfoys Limited. Frank hasalways had a special love for exhibitiondesign; in 1958 he designed for the ArtelGroup who specialised in this area and in1963 he formed his own company, FrankRyan Studios and Workshops, designing retailInteriors, showrooms, exhibition stands andfashion shows. More than a decade later hewas to found Frank Ryan Design Associatesdesigning exhibitions, exhibition stands,commercial and industrial interiors,interpretative / visitor Centres in Ireland andexhibition stands in twenty-two cities acrossnine countries.Frank’s contribution to the design field hasbeen acknowledged throughout Ireland. In1976 he was appointed exterior designer andadvisor to Kilkenny Design Workshops. In1985, Frank was also appointed as a memberof the design team for the Heritage TrustExhibition OPTIONS at the Guinness Hopstore, a major exhibition presenting the IrishEnvironment and Resources. This care forthe environment and cultural heritage wasfurther manifest in 1991, when he beganwork as a director and designer of EigseLimited, specialising in the heritage area.However, his major contribution to cultureand history in Ireland also rests on his workwith the Heritage Planning and DesignServices, which he founded in 1996, inpartnership with Jonathan Mason and whichis responsible for the design of twenty-sixinterpretative and visitor centres in IrelandFrank is revered not just nationally, butinternationally, as the following story showsJonathan Mason recalled first meetingFrank in 1990 when he was involved insetting up a campus company in Trinity,called Éigse.“In putting a team together, research skillsin the environmental sciences, history,archaeology etc. were no problem, but designand communications skills were anothermatter. Specialist advice was needed. The

EVENTS15father of thematic exhibition design, and‘Grand Old Man’ of British museum designerswas James Gardner, or ‘G’ as he liked to beknown. He had more or less invented modernthematic exhibition design with his designsfor the great Festival of Britain exhibitionsLondon in 1951. The great man was dulycontacted and asked if he could recommendanyone in Ireland. He immediately replied,“Oh, the only man to work with in Ireland isFrank Ryan … and of course he was right.”Frank and Jonathan later collaborated onthe design team for the Irish Pavilion at Expo’92 in Seville.For these signal achievements and formany more, Frank has been honouredpreviously, with the election to severalfellowships:In recognition of his work, Franks waselected a Fellow of the Institute of BritishDecorators and Interior Designers, a Fellow ofthe Society of Industrial Artist and Designers(now CSD) and most recently in 2005,awarded the Fellowship of The Institute ofDesigners in Ireland .The recognition he enjoys from hisprofessional colleagues and friends isperhaps best expressed by Michal Ozminwhen he says:“We could talk forever about workingtogether with Frank, his extraordinary input toIrish cultural life, his achievements as adesigner and as an educator, the respect heholds among fellow-professionals, educatorsand ex-students and the love which we, hisfriends hold for him in our hearts.”64 years after Frank first commenced hisillustrious career as a designer, it is indeedan honour and a privilege for Griffith CollegeDublin to formally recognise Frank’soverwhelming contribution to design,professional development and designeducation in Ireland.I now call upon the Chairman of GriffithCollege Dublin, Mr. Diarmuid Hegarty, toconfer the Professional Excellence Award onFrank Ryan and to present him formally withhis scroll.Citation given by President of Griffith College Dublin,Diarmuid Hegarty at the award ceremony in FrankfortAvenue, Rathgar, Dublin 6 on March 10th 2006.The ECIA Board Meetingat the Digital Hub Dublin –Birgitt begker, Selma Harrington, Kees Spanjers,Gerrit Schilder Jr. and Per ReinholtzIDI Hosts the European Council of Interior Architects Board Meeting June.16-17.2006As a member of the ECIA, the IDI hosted theirJune Board Meeting on the weekend of the16th/17th June and some social events toencourage Interior Architect and Designmembers to meet with them.Four ECIA Board members were welcomedby Selma Harrington MIDI and joined byIDI Council members during different stagesof the program. The weekend kicked off onFriday the 16th June with a series of socialevents and an introduction to the urbanaspects of Dublin, period buildings inGeorgian Dublin, contemporary and periodinteriors throughout which were followed withan involvement in the Bloomsday celebrations.Much thanks is due to the Joycean Societyand John and Marianne O’Reilly for themorning activities where we were treated toreadings from Ulysses and some truly artisticin-promptu performances. The group wasfurther met by Celine Cummins MIDI, whoshowed true Irish hospitality, not in the leastby demonstrating the skills of her professionby re-arranging garden seating in the M&Scafé, much to the bewilderment of the staff!We were also joined by our PresidentCameron Ross MIDI and Barry Sheehan MIDI,who gave us an enlightened architectural tour,followed by a cappuccino break in thebeautiful space of the Millennium Wing in theNational Gallery.Moving on, our colourful Bloomsdayfashions attracted the attention of curatorSimon Lincoln in the Irish ArchitecturalArchive and he offered to give us a wonderfultour of this very successful extension which isan integration of architectural conservationand elegant yet unobtrusive design. We werealso lucky to view an exhibition ofEileen Grey’s architectural models in thearchives and Maurice Craig’s exhibition ofphotography documenting forgotten Irishheritage, from 1940’s & 1950’s – bringing usright back to the past lives that lived here inthis historically sympathetic modern interior.The last stop of our tour found us in No 13Henrietta Street, where the late Frank Ryan’sdaughter Eileen and her husband MichaelCasey, very kindly opened their home for usto transport us back through time and layersof history, revealed through the layers of paintin the interior of their fine 300 year oldGeorgian house.Our guests managed to accomplish a veryfull itinery, even by Leopold Bloom’s standardsand taking in much of the best of what Dublinhas to offer in both design and culture leftthem speechless!ECIA Board meetingThe important business followed with a busyschedule for the ECIA Board Meeting onSaturday 17th June, held in the Digital Hubon Thomas Street and organised byRina Whyte in an efficient and appropriateenvironment to carry out our full days Boardwork. During our lunch break the Boardmembers visited the Griffith College InteriorArchitecture exhibition in The PowerscourtDesign Centre, kindly hosted byTracy Fahy MIDI and her colleagues.Elections to the ECIA Board were amongmany items on the agenda of the ECIA Boardmeeting. The four current Board members,from Holland, Switzerland, Sweden andIreland have all served two years in theirrespective roles but are willing to give anothertwo years to the Board, subject to re-affirmedsupport from their national organizations andre-election. The elections will be held duringthe ECIA General Assembly, scheduled for21st October ‘06 in Kortrijk, Belgium.The Boards proposed direction for next twoyears is for adoption at the GA. It is proposedto focus on Professional Practice in theindustry internationally, to strengthen andgrow communications with member andnational organisations, to establish an ECIAGraduates Award, to secure strategicpartnerships with industry and to undertakean oral history project of Interior Architecturewith national organisations.It is also planned to organize a meeting ofall executive officers and permanentemployees within national organizations inHanover, Germany, next January 2007, whichwill give an insight and exchange of ideas andneeds at that level, hopefully contributing tocloser cooperation and better communicationamong national organizations.Selma Harrington IDI Honorary Secretary ECIASecretary General, Dublin 5 July 2007ECIA Board meeting at The Digital HubPer Reinholtz talking to Griffith College studentsduring their final exhibition in Powerscourt Centre

16 RICHARD SEYMOURIf you build it, they will comeProduct designer Richard Seymour is one half of the redoubtable London design duo Seymour Powell, anda man at the top of his game. He came to Dublin at the invitation of IDI to talk about ‘optimistic futurism’,a phrase picked up from Steve Jobs, and to encourage product designers towards a kind of tough love.Marion Hancock reports.If there is such a thing as a celebrity productdesigner, Richard Seymour is one – look at thesexy portfolio, the media profile, and thecharismatic man himself, a kind of rock’n’rollhairy biker meets Orson Welles. At the momenthe’s working on Virgin’s ‘unspeakablyaudacious’ privateer spaceship which will hurlpeople into space for 4 minutes at a ticketprice of £100,000 a pop, on trains that will goat 400 mph (and will, quite likely, make a lotof air travel redundant), and on the world’sfirst hydrogen-fuelled motorbikes. This is thestuff boys’ dreams are made of, and SeymourPowell, the consultancy Seymour co-pilots inLondon with Dick Powell, has always had morethan its share of ‘deep futures’ Austin Powersprojects.Then there’s the saucy stuff. He’s designeda new kind of bra – the research requiringclose contact with breasts of every volume.And sex toys for sale in high street chemists:picture the investigations that led to the DurexLittle Gem. And self-cleaning, user-friendlytoilets (‘if you’d seen as much simulatedultraviolet backsplash as I have…’). OK,maybe the last one’s not so glamorous, butstill. As Seymour says, ‘Don’t you wish you hadmy job?’These projects do sound like huge fun, andof course not everyone gets to hobnob withRichard Branson and Steve Jobs (the latter‘like spending two hours too close to avolcano’). But lately, uneasy lies the head thatwears these serious creative laurels. It’s beenbothering Seymour that designers have a kindof carte blanche when it comes to stacking upproblems for the future. ‘I woke up one nightto the horrible truth that because everything Idid took a long time to reach the market –even a kettle takes years – each onerepresented a little corner of the future. In thefuture, there’s nobody there to stop you doingthings. So if I know what a train of 2013 lookslike, or a plane of 2050 – and I do – there’s aresponsibility that comes with that: am I doingsomething terrible?’A case in point – the ‘24/7’ sweet dispenserhe designed. This did well on the market,selling far and wide and becoming a commonsight on petrol forecourts. ‘Then one day I gotan email from somebody in Australia with thesubject line: You bastard. That got myattention. This email basically said, Iunderstand you’re the guy that designed that24/7 machine. I’m a backpacker and whereverI go in the outback, I find your fuckingdispenser in the sand’.This gave Seymour pause, since like mostdesigners he wants to ‘make things better forpeople, either physically or emotionally orboth’. Since then he’s been thinking a lotabout the mindset of the future-facing productdesigner. To make things better, he says,what’s needed is to look back with honesty (‘tofix the sins’) and to look forward with a blendof conscious responsibility and perkyinventiveness, even when the signs aren’tauspicious. ‘I switched on the news recentlyand the head of MI5 in London was sayingthey’re looking into 60 different terror plots,some of which may involve nuclear materials’,he says. ‘Now I can clutch my head and saywhat’s the point in getting out of bed, it’s allterrible...but if I wake up pissed off andapproach my designing table overburdenedwith negativity, then at least a bit of the futureis going to be shit.’Dreaming up a positive future should alsoinvolve seeking the mundane and replacing itwith ‘minor magic,’ such as the sleep light onthe Mac; the way a car’s interior light fadesslowly not abruptly. It’s all about the designerusing his or her own mind and senses toexamine what’s worked and what hasn’t, andto forge a positive way ahead – forget focusgroups. ‘I never do them’, says Seymour. ‘Theamount of crap that comes out of them, andthe money wasted on them, is unbelievable.’What he does instead is ‘video anthropology,’videoing people and then watching the footagewith the sound turned off, the better to see‘what the animal does’. When he wants towatch a physical task being performed, he maythrow in some diversionary questions, thebetter to see the animal in action. ‘It’s not thatpeople lie. It’s that they don’t know what they

RICHARDSEYMOUR17do’. To demonstrate he shows a clip of an olderman hopelessly fumbling with the stairlift he’dclaimed a moment ago was ‘brilliant’. Theanimal in us does one thing, the mind another.This attentive scrutiny has paid off in manyof Seymour Powell’s most successful projects.Take the Baby G watch. Ten years ago a groupof Japanese executives from Casio came to seethe consultants, saying they couldn’t sell theirwatches to women, and didn’t know why.Seymour Powell set forth with a camera tophotograph young women out and about inclubs and bars. What they found was youngwomen wearing big, fat, male watches. Theysuggested Casio make big fat watches in nicecolours, but take the technology out of them -too geeky - and remove the Casio branding,since brand values were at a low ebb. Theseideas naturally gave Casio the vapours, but theconsultants prevailed and the rest is history.Today, nearly a third of young Japanese peopleown at least one Baby G. Seymour still workson watches – the next ones will be sold inpairs: one for yourself, one for your beloved:stroke the face of your own watch, and theother watch, wherever it is in the world, willreact. (Explaining this, Seymour mimes rollingup his sleeve and stroking the ten watchesdown his arm – ‘Morning ladies’. )Unstinting powers of observation againcame into play when Seymour Powell wasasked to look at the design of toilets, a subjectSeymour tackles fearlessly. ‘When addressingthe porcelain, 82 per cent of men aim at theback of the bowl just above the water level.Why?’ - puts on whiny child voice - ‘Because itmakes a noise if we don’t, and mummy told usnot to. And what happens when a stream ofliquid hits a surface at that angle? It comesout again. Up to 25% of it comes out again.The reason toilets don’t develop is that nobodyhas that embarrassing conversation, they justfart about at the edges’. He offers similarexactitude about why you get ‘streaks downthe back of the bowl – oh yes, we are going togo there…’His observations formed the basis of aproposed new kind of toilet, featuring a ‘targetarea’ three times the typical size (anddifferently angled), plus a photocatalytic selfcleaningcoating. Yet despite its being cheaperto make than standard models, the clientcompany backed off, its marketing directormysteriously alleging that ‘nobody will paymore for a toilet that cleans itself’. Turned outthe company saw it as such a departure fromthe norm that it didn’t want to be first into themarket – though happy enough to followsomeone else’s lead, and ‘knock it off for5 per cent less’: not in itself a bad businessmodel, but not one that finds much sympathyamong product designers, and certainlynot with Seymour, who smoulders withreforming energy.His summation of the product designer’s jobis blunt. ‘What I really do is, I look at stuff andgo, “it’s shit”. Why don’t bras fit? Why areATMs rubbish? Why do men miss when they goto the toilet - and you too, ladies, by the way?Why are arthritis pills in childproof bottles?’These rubbishy designs have come about, hereckons, because people don’t have the fulland frank discussions they ought (‘nobodyaddresses the truth’), they put too much faithin focus groups, and they wait around forothers to take risks. People just faff about.Meanwhile he’s furious, he says, that some ofthe great names in design spend their timeredesigning salt and pepper pots.The bold critiquing role of the productdesigner is one thing; piloting a forwardthinkingdesign to completion is another.Seymour deploys a full arsenal of techniquesin edging his clients along the right path. He’lltake them out to the pub to tease out the realreasons for any resistance, he’ll ‘humiliatethem in public’ if necessary, and he advocates‘poisoning the waterhole’ – if a client putsfaith in the Financial Times, wangle apersuasive article into that paper. ‘I’ve bulliedsome of the iron-arses of the boardroom’, heconcedes. ‘It’s all about couching theargument in terms they understand.’The buccaneering attitude may be hard fornovices to emulate, but Seymour is adamantthat where a good solution is staring everyonein the face, then ‘I don’t give a toss whetherthe client asked for it or not, it is yourresponsibility as designers to push it through.You are the tip of the spear. You may be theonly person bright enough to make sure theydo it the right way’.This, then, is optimistic futurism – steppinginto the future with a positive frame of mind,standing on that point, turning around andlooking back at the stepping stones. As far astechnology goes, a lot is predictable, such asprocessor speed and the size of components –an upcoming Nokia phone for instance willincorporate elements designed using ‘inprinciple’ assumptions made by SeymourPowell nine years ago. And the future ‘sort offorms itself’ if you work out what competitorsare doing and how you can contribute.Seymour was sounding a little Zen at thispoint. But there’s no arguing with the successof his approach. ‘If you build it they willcome’, he asserts. ‘They really will.’Marion Hancock was editor of Design magazine andauthor of How to Buy Design, both published by theDesign Council in Britain. She is now a freelancewriter/editor based in Dublin, writing about designand working with designers on branding projects.Sustainable Innovation through Design –An Unprecedented OpportunityBy Adam De Eyto“The problems of the world cannot besolved by sceptics or cynics whosehorizons are limited by the obviousrealities. We need people who candream of things that never were”John F. KennedyDesign has always attempted to merge thepracticalities of engineering technology andbusiness with the subtle elements ofinterface, social concerns and aestheticdesire. This is currently achievable in mostproducts, but without sustainable thinkingand practice at its core, neither design norengineering nor technology have the abilityto do much more than continue to add tothe sociological and environmental difficultiesof the 21st century. The current and nextgeneration of designers and business decisionmakers need to develop a range of skills tohelp them deal with the broad and variedissues around sustainable development,materials and energy usage, environmentalconcerns and social responsibility. They musttake on the mantle of deciding what keydecisions to make regarding the sustainablemanufacture and design of consumer productsthat the world continues to use.The SME (Small & Medium Enterprise)sector makes up the bulk of industry withinthe EU varying in some countries from80-95% of the total numbers of companies.These industries by their nature find itdifficult to dedicate expertise solely tosustainable development issues and sodesigners in their capacity as consultants havea unique opportunity to influence and changethe thinking at an SME level and to capitalizeon this expertieze. At a multinational level it isapparent that many of the big global and localbrands are looking at sustainability as both arisk and as a business opportunity today andinto the future.In terms of local brands, Ireland is in aunique position as we have a strong economythat is looking to innovation as a tool forcompetitive advantage to allow us to continueour recent economic success. However, we area small economy in the global sense andtherefore we should also have the abilityto change our design and business practicesrapidly.It would appear from recent research in thefield of sustainable design that there is anunprecedented appetite and desire fromconsumers, manufacturers and legislators,both locally and globally, for sustainablesystems and products that at very leastconsider environmental impact. At a deeperlevel there are signs that “Green Washing” isnot sufficient in terms of its effectiveness orits ability to change consumer habbits.Designers need to consider varying theirstrategies to include Product Life CycleAnalysis, Design for Disposability (not justobsolescence), Upgradeability / Servicing,Extended Product Life, Design for End of Life andDesign for Local Manufacture and Distribution.Continued overleaf >

18 EVENTSDesigners have the unique ability to thinkand act laterally and creatively, to push andcajole their clients to consider and implementnew product development that verges on theradical. The question of whether design leadsor follows the market trends is one, ultimately,that all designers have to justify both tothemselves and to their clients. In eithersituation there is a clear and unprecedentedopportunity for sustainable design to both leadand follow the public’s desires.Adam de Eyto lectures in Industrial Designat the Institute of Technology Carlow and iscurrently working on an applied research PhDlooking at Sustainable Design Education.IDI support sustainable design atCultivate ConferenceOn the 13th of October, Tracy Fahey, President Elect of the Instituteof Designers in Ireland attended the international 'Rethinking Design'conference and exhibition in the Cultivate centre, Temple Bar,Dublin. IDI was among the organisations endorsing and helping topromote the events.By Erik Van Lennep, Tracy FaheyAdam and Muireann Mc Mahon (University of Limerick)are the Irish liaisons for the o2sustainable design networkwww.o2.org.If IDI members are interested in being involved in theSustainable Design agenda please feel free to makecontac by e-mailing deeytoa@itcarlow.ieAll images are examples sustainable designstrategies developed by 4th year Industrial Designstudents from IT CarlowBoth the conference and accompanyingexhibition, organized by Erik van Lennep andthe staff of the centre, were designed on thetheme of ‘Rethinking Design: Towards a LowCarbon World’. The event was part of a yearlong theme of activity co-produced byCultivate Centre and British Council Irelandon the topic of energy and climate change.The majority of attendees were designstudents from IT Carlow, DIT, University ofLimerick, Queens University Belfast, AIDT,Dundalk IT, Trinity College Dublin and GriffithCollege Dublin.According to van Lennep, “The thirdlargest and fastest growing sector in theworld economy is sustainable goods andservices, with an estimated two billion eurosactivity in Ireland alone in 2005 (EPA report).Conservative estimates of the global cost toaddress climate change are in the trillions ofeuros, and this represents new products,processes and services...the bones of a neweconomy. So far Ireland is missing he boat. Weneed to close the gap by stimulating newenterprises and supporting new design anddesigners here at home”.The day was a busy one with talks byinternational speakers Ab Stevels from PhilipsElectronics, Dr. Chris Sherwin from Forum forthe Future, Alastair Fuad-Luke, the author ofThe Eco-design Handbook and Dr. FrankO'Connor from Design Wales. There were alsosessions led by representatives from Irishcompanies and agencies such as the EPA,PERA and INVENT (DCU). These sessions alsoled to discussions, and students were happy tocontribute to the debates that raged aboutissues ranging from waste disposal systems tothe role of the designer in sustainabilityissues.It was great to see design students fromacross Ireland engaging in the vital issue ofsustainability and reflecting on theimplications of this for their future practice.The conference organization and content wasalso praiseworthy. The seminars provided anexcellent overview of sustainable issues todaywhile the interactive nature of the conferenceallowed for frequent exchanges of views.Cultivate Centre for Sustainable Living andLearning is Ireland’s only sustainable livingand learning centre. The Centre facilitates thetransfer and application of the ideas, goodsand services that embody current bestpractice in sustainability. The centre itself is atesting ground for many of these solutionsproviding visitors with the opportunity to seesustainability in action.Throughout 2006 Cultivate placed particularemphasis on appropriate responses to the twinissues of Peak Oil and climate change. Theseissues are emblematic of the problems we arefacing, problems whose root cause lies in ourculture's unsustainable relationship with theeconomy, society and environment. Thechallenges posed by climate change and PeakOil demand we reassess these realtionships,and quickly. What seems a change forced uponus by necessity and survival, may in factenable us to move to a more fulfilled andecologically sound way of life, acting as acatalyst towards sustainable development.Erik Van Lennep has been working to promote theuptake of sustainability since the 1980`s. Erik is a Co-opmember of Cultivate and develops educational courseson sustainable issues.Tracy Fahey MIDI is Head of Department of Humanitiesin IT Carlow. She has completed an M Ed in education,focusing on design education.Contact informationContact Cultivate by writing to Erik van Lennep at theCultivate Sustainable Living and Learning Centre,15-19 Essex Street West, Temple Bar, Dublin 8erik@cultivate.ieor phoning +353 (0)1 674 5773.Cultivate is open from Monday to Saturday10 am – 5.30 pm.www.cultivate.ie

EVENTS19Is Rome burning? Are designers fiddling?Sean O’Laoire, director of Dublin architecture firm Murray O’Laoire, was invited by the IDI to givethe William H Walsh commemorative lecture for 2005. In a sweeping review of the state we’re in,he called for a deeper definition of design and a raft of new measures.Marion Hancock reports.It’s always been troubling that designers,who tend to be at least mildly idealistic,are responsible for so much that is lame,ephemeral or just a partial solution to amuch bigger problem.See them as they toil over a brief forsausage packaging. Pan back and see outsidethe cars spreading pollution, transportsystems stuttering around ill-conceivedcityscapes. Pan further back and see weathersystems changing, populations migrating,political systems clashing. As another year’sintake of design students bends its head tothe drawing board, to study how problemsare solved.This was the picture painted by SeanO’Laoire in a sweeping review of, well, almosteverything. Ireland. The world. Design.Climate change. Cities. Health. Knowledge.His lecture needed its capacious title‘Convergence’.The twin strands of thought pullingeverything together were that design needs tobe more generously defined, to embrace‘researchers, politicians, scientists, engineers,agronomists, ecologists, poets andphilosophers as designers’, and that designersin practice need to think bigger – to moveaway from their focus on objects and simpleproblems, towards ‘confronting societalchallenges’. These are shifts that will requiredesigners to become more critically engagedin society, ‘and to confront some myths,including the myth that the market is king’.As things stand, designers are not often letloose on the big stuff. They were not involved,for example, in the debate on LUAS planning.O’Laoire’s practice produced a strategy paperfor Dublin, Scenarios in Urban Mobility, and iswell placed to comment on the LUAS’sshortcomings, such as the fact that the twolines A and B do not meet, and that politicalwrangling and expensive consultancy workheld progress up for years. While the LUAS isa success as far as it goes, many opportunitieswere missed. In O’Laoire’s vision, transport forDublin would operate more seamlessly in atime-linked, colour-coded system withintegrated ticketing and provision for bikecompartments on trains and buses. Sensible,achievable – but who knows whether it willever see the light of day.What’s needed, O’Laoire thinks, is a way ofapplying ‘design thinking’ upstream, at thesources of planning. So for Dublin, heproposes:· A single multifaceted planning andurban design unit, which would formulatea 20-year master plan for the city· A fast-track system to allow speedy deliveryof significant infrastructures· Urban design foundation courses for localleaders, councillors and local authority staff.Without such measures, Irish designers will bestuck fighting rearguard actions. ‘We shouldbe able to design – not adapt – structures andsystems. Predict and plan – not react.Designers have the ability, and forecasting andsim tech is better than ever before.’So where to start with the predicting andplanning? Well, challenges in Ireland include:· The worst male life expectancy in the EU· Nearly a quarter of the population living inrelative poverty· Drinking water quality among the worst inEurope, despite one of the highest levelsof rainfall in the world· A burgeoning waiting list for socialhousing, thanks to increases in houseprices and rents· A pressing need to attract innovators andresourcers to Ireland. One of Ireland’sstrategies for attracting investment hasbeen to tout itself as a ‘knowledgeeconomy’, but as O’Laoire asks, who isarticulating what this means? For the firsttime this year, Trinity College is not on thelist of the world’s top 100 universities.‘Ireland has sought financial capital butnot human’, he says, ‘so we have nofoundation for attracting R&D’.Beyond Ireland, the global challengesrequiring concerted imaginative thought rangefrom food, water, shelter and fuel shortagesthrough to terrorism and climate change.Kerosene-powered planes and petrol-poweredcars may not be around for long, and the rateof innovation is faltering – so will our way oflife be like the Roman empire, asks O’Laoire, ashooting star about to expire? Or is there hopein the form of geoclimatic design, ecology andsustainability, biofuel, wind and waste energytechnology – and if so, could Ireland take alead in these areas? Let’s be optimistic andhope so. But it’s a long way from branding andcorporate design guidelines.Meanwhile on the other side of the world,design ambitions are stirring in a big way.China apparently has 300 new design schoolsin development. In Korea, a new kind of city isrising from the ground – New Songdo, a cityplanned in every particular by New Jersey firmGale International. This is a place where‘mobile phones will pay bills, floors will detecta fall and call an ambulance…it will be onebig petri dish for understanding how peoplewant to use technology’. It may turn out to bea Frankenstein of a place but it undeniablytakes the idea of design to a new level.As a starting point for a serious Irish designagenda, O’Laoire likes the Royal Society ofArts (RSA) manifesto, which boils down to theidea of a zero-waste society populated byskilled, responsible and enterprising people (itmay sound like motherhood and apple pie, butcheck out the website www.thersa.org andbear in mind that this is a thoughtfulorganisation with surprising reach). He alsosuggests:· A radical shift in the way weeducate designers· Importing dynamic, creative‘third generation’ designers· State subvention to grow andconsolidate Ireland’s positionin the world of design, and· Design intervention in politicalpolicy making.This is ambition on a scale to make WilliamWalsh proud, and the audience for O’Laoire’slecture seemed to respond to it. There werequestions and reservations, including whetherdesigners (as we presently understand them)are up to the job. They may be ready to turn ahand to anything, someone said, but they’renot necessarily confident in dealing withclients and not always articulate. And are theyreally motivated to move beyond the idea thatshort-term consumer seduction is the name oftheir game? O’Laoire thinks so. ‘Designerscare’, he says, ‘but they’re diverted into stuffthat’ll be in the rubbish bin next month.’Perhaps the climate is changing in moreways than one. Just as commerce is notnecessarily big and bad, so good intentionsaren’t necessarily poor relations – indeed theyoften now meet in the middle. The greenmovement is reputedly heaving with savvybusiness types. Social entrepreneurs are cool.Maybe it’s time for design to reinvent itself.Linkswww.thersa.orgwww.architectureforhumanity.orgCalifornia-based non-profit organisation which started in1999 as a way of getting architects and designers to helppeople displaced by the Kosovo war. It has since shiftedits focus to improving slums and unplanned settlements.The group has a new book out, Design Like You Give ADamn (Thames & Hudson, £16.95).William H Walsh lived from 1915 to 1999. A champion ofquality in everything from food and ideas to crafts andmanufacturing, he was a pacesetter in craft-basedmanufacturing industries. He set up the Kilkenny DesignWorkshops as a national design and research think-tank,where craftspeople worked with cutting edge designersto produce what became known as ‘Kilkenny Design’.The IDI hosts an annual lecture in his honour.Marion Hancock was editor of Design magazine andauthor of How to Buy Design, both published by theDesign Council in Britain. She is now a freelancewriter/editor based in Dublin, writing about design andworking with designers on branding projects.

20 EVENTSBranding The ExperienceAndy Milligan, executive director of Interbrand, talked about ‘Branding the Experience’to a packed audience of (mainly) designers in Dublin in February.Marion Hancock reports.Guess the brands:1) Magic, Family, Entertainment.2) Sport, Winning, Attitude.(Answers below).You probably got them in seconds, as did theaudience that came to hear Andy Milligan talk.Such is the pervasiveness of branding today.But Milligan was also here to tell us thattoday’s mighty oaks were acorns once – and wewere duly amused by pictures of sorry-lookingBMWs in even sorrier showrooms of 30 yearsago. In the intervening years, has brandinggone too far?Milligan was invited to speak in Dublin bythe Institute of Designers in Ireland (IDI)together with Gaelite. He has a new book out,See Feel Think Do, which suggests that ‘bywatching the way real people act in real life inreal time in real situations, we can developideas that solve their real needs’. His previoustwo books (Brand It Like Beckham andUncommon Practice) are bestsellers, andreviewers praise his ‘refreshingly simple’approach to a subject others have made tootheoretical. That simple approach camethrough in his breezy analysis of why brandsare a good thing: if they didn’t exist, there’djust be ‘stuff,’ and undifferentiated stuff isn’tgood for society – look what happened in theSoviet Union!He defined a brand as ‘not a trademark buta central organising principle,’ and this wasnicely demonstrated by an appreciative tour ofwitty American brand Geek Squad. GeekSquad’s workforce of bespectacledcomputerfixers cruise the streets inreconditioned police cars, flash importantlookingmetal badges, stick ‘crime scene’ tapearound ailing computers and depart leaving‘Geek Squad’ footprints cast by the soles oftheir specially engraved shoes. This, Milliganobserved, was ‘beautiful thinking through thedesign’, and good evidence that quirky can bemainstream – Geek Squad is the biggestsupplier of computer support in the US.So far, so good. And is there anything thatcan’t be branded? No, according to Milligan –calling to mind Yo! Sushi founder SimonWoodroffe’s answer to the same question: heproposed Yo! I’m Dead! as a funeral brand.`(Dublin’s brand consultants feel there mightbe just a little unbrandable territory left –‘perhaps love’, according to Pat Kinsley ofNeworld, ‘although Hallmark has done a prettygood job on it’; ‘a walk in the park,’ offersAndrew Bradley of Bradley McGurk, and ‘God’,suggests Martin Gaffney of Designworks,‘because nobody has ever returned from theclient presentation with feedback.’)But while Geek Squad may exemplify alovable brand most people might agree is aGood Thing, there was clear apprehension inthe audience that many big brands are ugly,uncaring, unethical or all three. Questionswere asked about Coca Cola’s unionproblems, Nike’s sweatshop scandals,McDonalds’ health issues – surely a backlashis coming? Milligan thought not. The fussabout labour exploitation ‘did not affect Nikesales one bit,’ he said – Nike claimed not toknow that its policy against child labour hadbeen flouted, and resolved to be more rigorousin future. Shoppers carried on regardless.People do care about (alleged) iniquities, butthey also suit themselves when it comes tomaking their own consumer decisions.Among Ireland’s brand practitioners,though, there was some expectation ofbacklash against an overheated and underthoughtthrough proliferation of brands.Indeed Andrew Bradley thinks it has alreadystarted, especially in convenience foodretailing. ‘People do want brandedexperiences, but they want to experience themon their own terms’, he says.‘In the past ten years Ireland’s gone fromone extreme to another’, agrees Pat Kinsley,‘and now people are jamming stuff down ourthroats all the time’. So there will be areckoning? ‘I always say that a good brand isan honest brand’, says Kinsley. ‘The brandsleft standing will be those with real messagesthat relate to the Irish people’.This doesn’t mean a return to theunbranded local shop, he thinks. ‘We’ll sit andcomplain about Joe’s business going under –we all like to say hello to Joe – but that’s notgoing to save his business. We as consumersare going to go to SPAR. The only way a cornershop is going to survive is if it can offercleanliness, value and personality – then itwouldn’t be wiped away because it would havea good business’.This fits perfectly with Milligan’s assertionthat branding should ‘unlock the source ofpride in a company’. It’s an idea most of uscan get behind, so it’s perhaps mysterious thatclients need so much instruction, persuasionand handholding to go down this road. ‘Iwish I had brought all my clients along to thistalk’, said Kinsley. ‘The fact that even powerbrands like BMW had to start somewhere was agreat point of reassurance. Among my clientsMartin Gaffney, Arthur Duff, Andy Milligan February 2006I’d say that there’s about 15% understandingand 85% non-understanding of what we’re onabout. We’re sitting with all these beginners –our clients – and on average it takes about ayear for them to say OK, let’s go for it. Butonce they’ve made the decision to take thatstep, they’re halfway there.’According to Andrew Bradley it’s not justclients who struggle to see the big picturewhen it comes to branding. ‘My sense is thatdesigners don’t get the brand thing’, he says.‘Designers are very visually driven and they’renot very good at seeing things from the userpoint of view because they’re not educated toit. I’m not sure they’re that interested insomething once it’s left their desk’. By thisreckoning it’s up to the marketing fraternity toshow the way. In the Christmasissue of IMJ Seamus Bagnall posed thequestion whether communicationsexcellence in Ireland was ‘masking how wellthe consumer is actually being served’. It’s agood question. Everyone would like to seebrands that are beacons of quality andintegrity, not veneers of cohesion applied toindifferent (or worse) products and services.Ireland has no shortage of ideas, intelligentindividuals or promising startups, but it can doa lot better at crafting the kind of brandedexperiences that will still be in demand in30 years.Answers:1) Disney.2) Nike.This article first appeared in Irish Marketing Journal.

EVENTS21Report on Intellectual Property Rights,Copyright and Trademark seminarOn September 7th 2006, the IDI held an Intellectual Property Rights,Copyright and Trademark seminar, in Griffith College.This seminar came about through professedinterest among members in learning moreabout the changing face of legislationpertinent to design.Hugh Kearns, Creative Strategist, writerand designer, Andrew Parkes of Tomkins andAileen Eglington of the BSA gave a greatseminar to designers regarding IntellectualProperty Rights, Copyright and Trademarks,licensing software.Hugh Kearns spoke about the differentrights of a designer in terms of copyright – thepaternity right and the integrity right, addingthat many clients were unaware of the latterright – the right not to have your workinterfered with or presented in a way thatmight undermine your standing in theprofessional community. He stressed the needto be aware of, and to protect your rights, and,if necessary, to be prepared to go to count todefend them.Hugh also generated interest by speaking ofa recent case taken by designers against aclient, where the designers’ work had beenreproduced, reconstructed and reused by theclient against the wishes of the originalcreators. Despite offers of settlement, he hadadvised his clients to insist that the caseshould be heard in court in order to havedesign rights enshrined clearly in case law, inorder to set a precedent for others to follow.Andrew Parkes of Tomkins spoke next,clearly defined the laws around copyright andpatenting, using visual examples of how youcan trademark everything from packaging tocolour combinations. He also explained theregistration process involved with trademarks.Andrew described how EU law governedapplications to register designs.A truly successful conference also needs tocourt controversy as the final speaker did.Aileen Eglington of the Business SoftwareAlliance spoke of the importance of licensingsoftware, the laws regarding illegal softwareand the issues regarding designers usingsoftware. Her rationale that creative personsshould respect the copyright of other creativesdesigning software was contested by membersof the audience who cited high softwarelicense prices as a deterrent.During the question time that followed,questions were asked about software, internetprotection, web design, various trademarkingqueries and more questions about the pricingof software licenses for students, graduatesand emerging companies, whichChairman Cameron Ross, speakers AndrewParkes, Aileen Eglington and Hugh KearnsAileen Eglington offered to look into.The IDI would like to thank the panelists –Hugh, Andrew and Aileen – for makingthemselves available to speak and to answeraudience questions. Special thanks also go toGriffith College and IDI member DeirdreDoherty who arranged and facilitated thevenue, refreshments and equipment.The seminar (capacity 40 persons) wasbooked out, with a waiting list of applicants.Due to the popularity of the event amongmembers, and interest from other legal anddesign bodies in getting involved, the IDI willbe following up this seminar by makingavailable to members the content of papersdelivered at this session, and by organisinganother debate on the same broad theme. Thefocus of this second session is expected towiden out the debate by focusing on Europeanand International legislation and bodies.For more information on this and other upcoming events,please check the web-site on a regular basis athttp://www.idi-design.ie/. If you are interested in assistingin organizing this or other informational sessions formembers, please contact Rina Whyte at idi@indigo.ie.Sponsorships –it’s not about signing a cheque!If the definition of a sponsorship is: where abrand enters a commercial agreement with anentity e.g. Ryder Cup, to build deepconnections with their audience and so gainattention, generate awareness, drivepositioning, enhance image, grow loyalty andultimately increase adoption through theassociation; how does the brand undertakingthe sponsorship deliver on all this?Global sponsorships in 2005 reached$30billion growing to approximately$34billion in 2006. Ireland remains ahead ofthe curve in sponsorship growth reaching anestimated ?92million in 2006. The increasingattractiveness of sponsorship for brands todeliver on all of the above is driven by anumber of factors:1. Uniqueness in creating emotionalconnections with audience – it is themost emotional and personally relevant ofall media;2. Strategic role – major brands usesponsorship as a lead strategy to deliverbrand / business objectives;3. Benefits over ‘traditional’ media throughassociation in addition to exclusiveexposure to a targeted audience;4. Most effective as part of / lead brandvehicle in an integrated campaign;5. Improved measurability;6. Increased professionalism.The key to the success of a sponsorship isactivation – which is owning and leveragingthe association to maximize the return on yourinvestment by activating the sponsorshipbeyond simply the placement of a logo onposters or having a stand at an event – orhanding over a cheque! But let’s start with thekey assumption that the association is a strongfit for a brand. If not, no level of activation willdeliver on the above definition. With the brandfit a given, what is activation?An example: Gyro was tasked withpositioning ACCBank uniquely amongst aniche high net worth audience as the marketleader in delivering customer value to thebusiness / agri-business sectors. Sponsorshipof the Punchestown Festival was targeted dueto exposure to a highly targeted audience andunique brand fit; specifically sponsorship ofthe Champion Hurdle – most prestigiousGrade1 two mile hurdle race in Ireland.To take ownership of and leverage thesponsorship to the maximum effect in acohesive, clever and complimentary way, thefirst step was to design a logo which capturedthe tone and expression of the sponsorship todeliver unique ownership of the association.Using the corporate colours, a highly stylizedhorse head mark holds the brand name withthe brand trefold subtly conveying a horsebridle. More than a logo, the identity is anexpression of intent to the target audience.Furthermore, the logo behaved as a consistentanchor across all communications indelivering a powerful activation plan whichconsisted of national and local radio and presswith a high incidence of the target audience.Direct Mail to top customers driving retentionand repeat business, and a focused signagestrategy in Punchestown including road,entrance, parade ring, track and the winningpost.A general global industry rule is theactivation plan should be at least double thecost of the sponsorship rights. A particularglobal soft drinks brand spends a ratio of 6:1on activation – little wonder it is no.1.Marc SheridanGyro Ireland Integrated Brand Communicationsp: +353 1 635 9119e: marc.sheridan@gyrointernational.com

22 DESIGN INNOVATIONThe Design DifferenceWouldn’t it be nice if designers were able to say to a client, apolitician or the press: “This is the value that our work brings to you?”.That is just what the Centre for DesignInnovation wants to do. The first output oftheir research work has just been publishedwhich answers the big question by showingthat companies that use design are moresuccessful than those who do not.Of course many people have been sayingthis for a long time, not least members of theIDI; it has even been finding its way intopolicy papers:‘The systematic use of design can offercompanies significant benefits, helping them todifferentiate their products, deliver efficienciesand reduce costs. Firms in Ireland are relativelyweak in the strategic use of design’Ahead of the Curve, Enterprise StrategyGroup, 2004.Sadly, this has not been supported byany kind of compelling proof or led tospecific action, and this is what the Centrewants to address.Last October the Centre for DesignInnovation commissioned a survey of a sampleof 405 SMEs from a range of different sectorslocated in both the Republic and NorthernIreland. Weightings were applied to the datagained from our sample as to reflect arepresentation for an entire Irish SMEpopulation. The brief of our survey was toexamine the relationship between design andinnovation and how it correlates to businessperformance. The primary finding of oursurvey was that Irish companies that usedesign experience more success that thosethat do not. The research tells us thatcompanies using design are less risk averseand more likely to be developing new productsand services. It also tells us that they are lesslikely to be competing on the basis of price.The findings suggest that they are growingand succeeding because they are innovatingand moving. They are not waiting on thechallenges of the global economy; they areusing design to meet them head on.However, the research also shows that only15% of Irish SMEs use design strategically,that is where design is used to drive allbusiness activities to better understand userneeds. Despite widespread recognition thatdesign substantially increasescompetitiveness, the majority of Irish SMEsare either unable or unwilling to integrate itstrategically into their current businessmodels. There also lies the crux, the elementalchallenge facing Irish business leaders andpolicymakers as they seek to push the Irisheconomy up ‘the value chain’. Success hingeson bridging the gap between attitude andaction, between understanding and exploitingthe full benefits of design led innovation.So let look at some of the figures. Forexample, 78% of SMEs that use designbrought new products and services to marketin the past three years. This compares withjust 51% of SMEs not using design. How isthis linked to growth?. 72% of businessdeveloping new products and servicesexperienced growth, this is quite a bit higherthat the 56% of businesses that developed nonew products or services. When it comes tocompeting, the majority of those SMEs thatare growing maintain that design andinnovation sharpens their competitive edge.For example 46% of companies experiencing agrowth in demand for their products andservices said innovation to a great extentenabled them to maintain competitiveness. Incontrast only 28% of no-growth companiessaid the same. Similarly, 47% of companiesexperiencing significant growth said design toa great extent enabled them to maintaincompetitiveness. This compares with only30% of no-growth companies.When looking at SMEs that are planning to

DESIGNINNOVATION23grow, the research found that these companiesare also more likely to increase theirinvestment in design. 21% of Irish SMEssignificantly increased their investment indesign in the past year. When looking at thisin relation to growth, it was found that 35%of SMEs reporting increased turnover havesignificantly increased their investmentin design. Looking ahead one year, while43% of all SMEs are planning to increasetheir investment in design, this compareswith 60% for SMEs planning to grow rapidlyin the next year.The research also shows that some formsof design-use lead to more growth than others.As part of this research we adopted a ‘designladder’ model to illustrate that there is animportant distinction to be made betweenthe different levels at which companies usedesign. The higher the step on the ladder, themore strategic the design implementationwithin a company. The research tells us thatthe more strategic the implementation is, themore likely a company is to experience growthin demand for their products and services.Currently only 15% of Irish SMEs haveachieved the highest rung of the ladder,meaning that many more could be targetingadditional growth by climbing a little higher.SMEs that strategically use design are 2.5times more likely to experience growth indemand for their products/services than nogrowth.This compares with SMEs not usingdesign. These SMEs are nearly 4 times morelikely to experience no-growth than companiesthat use design strategicallyOne of the most interesting findings from theresearch is that the majority of SMEs attitudestowards design is positive, in so far as theyperceive that design has the potential to addvalue to their organisation. Yet very few areunwilling or unable to implement it at a morestrategic level. For example 78% of SMEsthink that design is important for stayingahead of the competition, yet only 15% planto significantly increase their investment in it.As with most research, this research raisesmore questions than it answers. Why when thebenefits of design are evident, do Irish SMEsnot use design more effectively? We don’tknow the complete answer to this question.The research suggests a combination offactors, aversion to risk, inadequate supportmechanisms and limited design andinnovation capability both within companiesand nationally. This we do now – in the globalcontext, the Irish economy is becoming lesscompetitive: our ability to differentiate ourproducts and services is declining. How muchlonger can we ignore the ‘design difference’and the value and benefits that it offers?What is the Centre forDesign Innovation?The Centre for Design Innovation is the National centre of excellence for the research,understanding and promotion of the effective use of design. Its research programmesfocus on delivering compelling proof of the tangible and intangible impact design canhave within Irish businesses and the public sector.Complementing this academic research is an action-based learning programme calledInnovation by Design. This will be implemented as a pilot among a portfolio of companiesin the Northwest of Ireland. The programme will provide design tools and methodologiesto participating companies to enable them to innovate more successfully. The output willbe a range of high quality case studies that tell a much more human story of the impactthat design can have within organisations; these will form the basis of ongoing advocacyto raise awareness amongst policy makers and managers.www.designinnovation.ieContact informationToby Scott – Director of Centre for Design InnovationT:+353 353-71-91-55496,E: toby@designinnovation.ieResearch questions should be directed to:Dr. David Tormey, Research Manager,T:+353 353-71-91-55496,E: david@designinnovation.ieEye, the international review of graphic designPacked with inspiring images and incisive writing, Eye is the essential quarterlymagazine for anyone interested in graphic design and visual culture. Every issue of Eyefeatures interviews and profiles; history and polemic; with regular contributions fromacclaimed writers as well as world leading practitioners.IDI members offer*We are delighted to announce that the IDI has teamed up with Eye magazine, theinternational review of graphic design. Members can now benefit from a specialsubscription offer to Eye. An annual collection of Eye for just €83, a saving of 15%.For full details of the offer please call +44 (0)208 606 7500 or emailsubscriptions@haynet.com quoting reference EYEIDIM6.www.haysubs.com/eyeidim6IDI student offerStudents visiting the IDI can also subscribe to Eye for the fantastic student priceof €68.60, a 30% discount on Eye's subscription price.*For full details of the offer call +44 (0)208 606 7500 or emailsubscriptions@haynet.com quoting reference EYEIDIS6.(proof of college place required)www.haysubs.com/eyeidis6* offer ends 31 December 2007Contact at EyeVictoria McDougallT: +44 (0) 208 267 4914E: victoria.mcdougall@haymarket.com

24 EYEEye in Focus:An Interview withJohn Waltersby Steven HellerJuly 18, 2006Founded by editor emeritus Rick Poynor, EYEcame into being at a very critical time ingraphic design history: it was the beginning ofthe digital revolution, which propelled the socalledPostmodern aesthetic andDeconstruction movements. It was a timewhen type and layout experimentation wasfervent, and literary and othercommunications theories raised the“discourse” of graphic design. For the pastseven years, John Walters has been the thirdeditor of EYE (following Max Bruinsma), andfor the past seven years, has assumededitorship following a unique period ofdiscovery and controversy. On the occasion ofthe 60th issue Walters talks about EYE'shistory and what he has done to both preserveits legacy and make it relevant today.Heller: It is a little awkward for me to dothis interview since I've been an EYEcontributor since its launch. But now that EYEhas reached its 60th issue (and now that themagazine also has a new publisher, publishinghouse and art director, Simon Esterson) Ibelieve this is a propitious moment to reflecton the magazine's contributions and lookahead to its future.Walters: Well, graphic design is alwaysinteresting, even between so-calledmovements and revolutions. From my point ofview, EYE is always at the center of a quietstorm of ideas and proposals and extraordinarywork of all kinds. Even when my in-tray isfilled of catalogues and posters with nothingbut bad illustrations, or ungrammatical copyset in 8 point Univers or a “cool new brand”that's neither cool, new nor a brand, there'salways something interesting to focus on,whether it's a music website, or graffiti in SaoPaolo, or Mexican protest posters, or a newway of looking at the sports pages, or (dare Isay it) Nazi type.Heller: Do you maintain a distinct editorialphilosophy?Walters: Yes!Heller: How does it differ from that of yourpredecessors?Walters: My editorial philosophy—and theway it differs from that of the earlier editors—is best expressed by the contents of EYE fromNo. 33 to the latest one [No. 60]. It's like thesong: “It's not what I say, it's what I do.”Heller: Hmmm. Well, that does say a lot,but for the benefit of our readers can youreduce this to a few sentences?Walters: No, but I'll try to explain my“philosophy,” which is that editing EYE is notall that different from editing any goodmagazine or journal. My job is to find storiesthat will interest my readers, and to tell thosestories in words and pictures. The difference isthat most of my readers are graphic designers.I'm aiming to show and tell our readerssomething they don't already know, or to tell afamiliar story in a new way. Harold Evans oncesaid that the news is something that someonedoesn't want you to know.Now EYE is not a news mag; the quarterlyfrequency precludes that. But I do want it toreflect current practice and contemporary,critical thinking about design. And I want toexpress this in language that is accessible tothe average person, and to designers for whomEnglish is their second language, so we do ourbest to avoid jargon and slang. And though wedo include historical pieces and archiveimages, I'm looking for subjects that have acontemporary relevance, that havesignificance for what's happening right now,such as the piece about the pre-history ofmotion graphics in EYE 60, or Social vision,the feature about wartime safety posters inEYE 52.Heller: Rick Poynor makes a distinctionbetween design “journalism” and design“criticism,” between reportage and analysis.How do you see this playing out through inEYE's editorial philosophy, and is it aconscious divide in your editorial program?Walters: I don't think it's a divide so muchas a continuum. All good journalism containsa critical and/or skeptical element. The mostsimple, sympathetic interview requires acritical edge in order to provoke interestingresponses from the interviewee, and to assurethe reader that he’s not just reading a pressrelease. I see a lot of “news writing” in thetrade press that goes along the lines of: “X hasleft Y to pursue a new role at Z.” That's notjournalism; that's a parish newsletter!We need journalists who can look andanalyze, and designers who can write. It's atough one. To go back to your question: goodcriticism requires a sense of journalism so thatwe still learn about the subject even when wedisagree with the analysis. And withoutcriticism, journalism becomes PR. Rick is agood journalist, and that's part of the reasonwhy he's such a great critic.Heller: Unlike most of the other designmagazines in the United States and U.K. inthe early ‘90s, EYE attempted to lead a new“discourse,” not simply report on styles andtrends, even to the point of antagonizing someof its readers. Where do you think thisdiscourse has gone throughout your tenure? Doyou believe designers are still interested inmanifestos and saber charges, or has thatactivist streak worn itself out?Walters: When I talk to readers about EYEand the reasons they value it, they often usethe term “timeless” which is interesting whenyou consider how transient graphic design canbe. But when you look at back issues, it'soften the adverts that look really dated, whilethe articles don't.I like the polemical articles, but they're onlyone part of what the magazine has done overthe years. If you get too caught up in thesquabbles and rivalries of particular scenesand moments, you can lose sight of what wereally like in graphic design and visual culture,and I think we are defined more by what welike than what we criticize. Nobody likescriticism, though none of us is above it.Sometimes what passes for “debate” is littlemore than a slanging match—people who feelhurt hitting back at their critics."Good criticism requires a sense ofjournalism so that we still learn about thesubject even when we disagree with theanalysis. And without criticism, journalismbecomes PR."Heller: Which raises the question of whereEYE fits into the propagation of visual culture,vis a vis graphic design. Is graphic design anexpansive enough field to truly influence theculture apart from typefaces? And how hasEYE addressed this under your tenure?Walters: Graphic design is a hugelyinfluential and significant part ofcontemporary life, but this is not alwaysunderstood within the culture at large. Look atthe patchy way graphics are covered on TV andin newspapers. The web is actually muchbetter, so I see some of design's renewedenergy coming from the pleasure that ordinarypeople take in images and typefaces—onblogs, photo-sharing sites, even MySpace. Forbetter or worse, the web is creating a wholenew kind of visual literacy.How can EYE (and I) address this? Ouraudience hardly needs convincing about theimportance of design and designers. One thingI've been keen to do in recent years has beento look at visual culture outside design, and toexamine some of the issues behind design:ethics, social concerns, readability, sexism,racism, education and so on. I'm not makingany great claim for originality in doing this. Allthe editors I admire keep their magazinesfresh by looking outside—and deeper inside—their core subject.Also, our readers expect the magazine to beeclectic, to surprise, to go beyond what's inthe other design titles, to change from issue toissue. To fulfil readers' expectations, I have tochallenge them, too (while staying within awell established editorial structure)."I see a lot of “news writing” in the tradepress that goes along the lines of: “X has left Yto pursue a new role at Z.” That's notjournalism; that's a parish newsletter!"Heller: None of the EYE editors have beendesigners. You, in fact, come from a musicbackground, co-founded UNKNOWN PUBLIC,formerly a magazine in a box, now a CD-book,and write about music for The Guardian. Howhas this influenced how you view graphicdesign? And by extension do you edit EYEsolely as a graphic design magazine?Walters: EYE is first and foremost amagazine for graphic designers. I never forgetthis, and my readers don't let me forget iteither. The great thing about designers,

EYE25however, is that they have a very broad rangeof interests and reference points, bothprofessionally and personally, that go waybeyond the notional borders of design:vernacular restaurant signs, RichardHamilton, graphic scores for music, Manga,EYE charts, Crumb's life drawing ... sex,drugs, rock 'n' roll, the universe andeverything.As far as editing a magazine goes, it's notall that different from being a record producer,a bandleader or an arranger—things I used todo before becoming a journalist.Heller: During your tenure, what has excitedyou the most as an editor? What issue orarticle do you feel has made the mostimpression or started the most controversy?Walters: That's a really difficult question:they're all great! And the latest is always thegreatest (to quote Kali Nikitas). By the time itgoes to press, you've become committed toeven the most problematic article. The“special issues” (like 38, 40, 45, 53, 54 andso on) are hard work, but really satisfying topull together around a central concept, and Iknow that some pieces strike a nerve, like“First Things First 2000” (33), or the “BrandMadness” pieces in 53, or Judith Williamson's“Retro-sexism” (48) or “Mexico '68” (56).Time pressures mean that I don't write asmuch as I'd like, but I've enjoyed interviewingdesigners such as Terry Jones and GerardUnger, and profiling Steve Byram, forinstance.Perhaps I should stress that I don't edit EYEto indulge my personal tastes and obsessions.I got several of my personal favorites out of theway early on, with Phil Baines's great pieceabout the UK road signs (34), Peter Blake(35), B. S. Johnson (36), GTF (39) and NevilleGarrick (41). I often edit from a position ofinnocence—there's a subject of which I'mskeptical or ignorant and I want the writer toargue their case in our pages and convince meand Simon (our new art director), andtherefore our readers, that this subject matteris worth caring about, is worth the space.Heller: Who is your audience? Or statedanother way, who do you want to reach withEYE?Walters: Graphic designers. People who likegraphic design. Ideally a broader, visuallyliterate readership that realizes the huge valueand creativity of design—particularly whencompared with other areas of endeavor. Butdesigners keep the magazine alive—in everysense. I'm happy about that, because I'vealways liked designers as co-workers,collaborators and friends.Heller: What do designers offer you thatother professionals do not—and I'm nottalking about layout services?Walters: I've worked on mags for otherprofessionals, and they all have their merits,but I admire the can-do approach of designers,the way they pull everything together, the waythey combine specific creative talents withmore general life skills, the way they integratetheory and practice on a daily basis.In "LA art school," the profile of AlexMcDowell in EYE 60 , Malcolm Garrett notesthat with digital technology, the design studiois now at the very heart of the film-makingprocess. This is true in many other areas ofendeavor. Designers have to take on manyroles, which means that they have to know alot, and do a lot, and they have to collaboratein a meaningful and generous way with allkinds of other people. And it doesn't meanthey have to change their job description. Theycan do all manner of things while remaining,at heart, a graphic designer.Heller: Since we've ascertained youraudience, do you feel you are making contact?Walters: The feedback—through emails,phone calls, random encounters, sales andsubs—is good. And I have a lot of confidencein my writers. Whether it's asking AliceTwemlow to write 6,000-plus words aboutdecoration (EYE 58) or Peter Blegvad to writea few hundred words about the Nobel Fieldinstallation (EYE 60), I know they're going todeliver.Heller: You are basically a one-editor andone-art director show, so what goes on in yourhead when planning your issues?Walters: I could write a 2,000-word essayabout that. There's only one thing moreexciting than planning an issue, and that'scompleting an issue. And I have to balancethat with the day-to-day duties of being theeditor, which means going to circulationmeetings, opening the mail, correspondence,phone calls, website meetings, mailing outcopies of the magazine to contributors whodidn't get the one the mailing house wassupposed to send out four weeks ago, and soon and so on. There are days when it seemslike everybody wants a piece of me, so mybrain can get pretty fried holding on to thedetail of what will make the next issue work.So what's going on in my head is prettycomplex, but the end product is edited,distilled from a large number of ideas andwords and images. In the future, perhapswe'll organize a "brain-cam" so that reallyobsessive readers can see how the new issueis shaping up.As for being a one-ed/one AD show, thatmeans that Simon Esterson and I can makebig decisions pretty quickly when it comes tomolding each issue into its final shape. Thereare times when it would be good to delegate alittle more, but a two-person team can be verystreamlined and effective. To grab a recordbusiness analogy, it's a bit like when anarranger and an engineer work together as aproduction team—you can play to each other'sstrengths.But we're at the sharp end of a prettyimpressive “virtual team” of writers,academics, and the all the designers whocontribute images. Nick Bell, who designedthe magazine from issues 27 to 57, is still onboard as our "special consultant," and EYEfounder Rick Poynor writes eight “Critique”columns a year—plus other reviews andfeatures. Then there's my regular sub-editorDeborah Burnstone, plus several otherfreelancers contributing editorial expertise,picture research, etc., and designers JayPrynne and Kuchar Swara, who work atSimon's studio. And of course the greatAnthony Oliver, who has been EYE'sphotographer since issue one, volume one.Heller: EYE is a well-produced quarterlymagazine. In the UK you run up againstCreative Review and Grafik. In the UnitedStates, your competition is PRINT,Communication Arts, and STEP Magazine.How do you feel you compare to these popularjournals?Walters: Difficult to say. You could say thatthere's competition from IDEA, GRAPHIS,Baseline, IdN, I.D. Magazine, HOW and DOTDOT DOT too. They all have their merits. Butwhat we do is quite different to all thosemagazines; I don't see a direct competitor.However we are competing with all thosemagazines for subscriptions and sales andadvertising and website hits—maybe forhearts and minds, too. My advice to anyonereading this is to get the others occasionallybut take out a subscription to EYE.Heller: I know your answer to this, but I'llask anyway. With so many publicationsincreasingly turning to the web, and withdesign blogs cropping up, why do you believe amagazine is not an anachronism?Walters: Didn't people talk like that aboutCD-ROMs? There are those who thought TVwould make print redundant, too. The web isalready making a certain kind of journalismanachronistic, but that's the way technologyworks. Drum machines didn't so much putdrummers out of work, as redefine the role ofthe drummer. Desktop publishing changedthings profoundly, but magazines are stillhere, and my belief is that a magazine likeEYE, with its high production and designvalues, is a strong argument for print. I knowfrom many direct and reported conversationsthat people love the feel of EYE, the smell ofthe ink and paper, the tactile pleasure ofopening a new “box-fresh” copy. I have tomake sure that the editorial content lives up tothat!Heller: Last year EYE was bought byHaymarket publications. How has and will thischange the tenor of the magazine?Walters: Haymarket is bigger and moreambitious than Quantum, EYE's previousowner, and it wants titles that are both leadersin their fields and of the highest quality. EYEis small compared to some of its other titles,but we fit well within its portfolio: we are nowpart of a new division called Haymarket BrandMedia. (At Quantum, we were part of thecompany's Hospitality division, alongsidetitles such as Hotel & Restaurant, Pub Foodand The Publican!)Since Haymarket bought EYE (in May 2005)we've been able to introduce a discountscheme for students. There are plans afoot fora mini-conference / debate, a photographysupplement and other “brand extensions.” Ourcirculation is rising in a pleasing manner. Afew people rang me when EYE was firstacquired last year, asking: “Are they going tochange the content?” In fact the newpublishers let me get on with it, with noeditorial interference at all—they're workinghard on the non-editorial aspects: advertisingrevenue, sales, distribution, making thewebsite more effective, and increasingcirculation, all of which are so necessary forthe long-term health and security of the title.© Steven Heller & John L. WaltersAbout the Author: Steven Heller, co-chair of MFA DesignerAs Author at School of Visual Arts, is the author of Merzto Emigre and Beyond: Avant Garde Magazine Designof the Twentieth Century (Phaidon Press), The Educationof a Comics Artist co-edited with Michael Dooley(Allworth Press), The Education of a Graphic Designer,Second Edition and The Education of an Art Director(with Veronique Vienne) (Allworth Press).

26 CANDYREVOLUTION!When we say "Revolution" we don't mean a realone were there's fighting on the streets,Fighting on the streets doesn't seem to beworking or having the desired effect like itused to, but in a sense there is a fighting spiritbehind what we are trying to achieve here atCandy and SweetTalk.We could be forgiven for thinking we're inBattle-mode, it is a challenge of sorts, againstthe run of the mill so to speak.Instead of us wielding a large red flag atopa barricade and proclaiming thefreedom of ourfuture we are taking the considerably lessstressful route of just emailing our partyfaithful, sending links and information thatwe think will virally rouse the populace into afrenzy with side effects ofjoy, rapture and theodd exclamation in an office of busyworkers,Hopefully a remark like "YES-ThisCandy thing is brilliant" or "Look at that",That's our modus operandi, our Goal.The PDF has been around for a while now,at least ten years since itsinvention and aswe know all too well Necessity is the Motherof Invention.Richard Seabrooke after one of his famoussleeps woke to the sound of a ringing bell overhis head, it had come to him that the simplestway to showpeoples amazing work from allover the world, multi-disciplines ofIllustration,Design, Photography anything that looked likethe creator had been touched by the hand ofGod himself [Herself ] was to put into a PDFformat intended to send finished artwork fromdesigner to printer or designer and client andmake it available to everyone.As easy as its may seem that was the startof Candy, a simple idea in a simple formatspreading more simple ideas. The results havebeen spectacular for all concerned.We have just published TheGirlpowershopping Issue which is a marvellousnumber 7 with a list of artists and creatives inevery issue that would cover 2 pairs of arms,If you walk through the issues you will seesuch Luminaries and Heroes, People likeGlen E Friedman, Michael C Place, Tim Biskup,Paul Seawright, Ros Shiers,TADO,

CANDY27Oliver Jeffers and many many more too manyto mention here.Its like we have struck oil in a barren desertof car-parks and head officesOf course not content with just a magazine,Our off shoot project SweetTalk is in its 22ndincarnation and is the physical tactile side ofthe Candy idea, Just like the magazine it hasan informal attitude done well and presentedwith good will, the object being to meet againthese amazing creatives and hear what theyhave to say about their own work, usually inDublin we host these events in the Sugar clubbut recently we are branching out and eventshave happened in Copenhagen, Belfast,Limerick, London with Dates in New York,Berlin already signed off with SweetTalkspenciled in for Beijing and Oslo.The scale and detail of work inside bothprojects accompanied by the interviews toback the visual is simply overwhelming andthis is thanks to all the artists who agreed tobe involved, the contributors and of courseSeabrookes tenacity to finish the job.But then Something we feel is about to give.As the printed magazine industry centres on amore Dumbed down content, heavy laden withadvertising and information seemingly takingsecondary status, Candy imagined itself trulyindependent and with the PDF as the vehiclefor this idea we could go beyond theboundaries of display units in the traditionalway of selling magazines but instead reachdesktops of computers everywhere, there isevidence that major strides are being taken inthe realm of E-zines and magazines are takinga new shape, we've been right there from thestart and hope to stay right alongside forwhatever time it takes.As the online market increases confirmingall along what we thought was going to happenit more importantly has enabled us to delivernew information about what we thought isimportant, Creativity!!, the process ofcreating, the people behind the creations andinstantly and with minimum fuss, deliver it toyour desktop.The PDF is cost effective with no physicalprinting costs so that as a business model is agood start regarding overheads, getting it topeople is easier now than ever, the revolutionactually happened with the invention ofInternet and availability of information isa key tool for us to move on as people andas intellectual beings.Candy strives to bring to you the mostinnovative and interesting creativity fromaround the globe, its a labour of love with agrand amount of good will that has seen thiskernel of an idea really grow into somethingwe are proud to be associated with, its beenemotional.Aidan Kelly / Candy

28 DESIGN WEEKPainting the town orangeBy Conor ClarkeRather than be the only measure of the Weekwe felt that it was very important to widen thebase and, as you know, last year we broughtall the design bodies and other potentialstakeholders on board to share in theopportunities and the responsibilities.The result was a week of great intensity witha much more professional structure to it, interms of management and presentation. Wewere very lucky to have been able to partnerwith the Dutch Design event and all the spinoff that it generated. Conor Clarke, with hisinimitable presence, made this possible alongwith the Dutch Embassy. It was hugelystimulating and acted as a very interestingcounterpoint to our own design output. It wasalso the occasion to bring MinisterO’Donoghue on board with all the attendantspot lights. The possibility of linking withother design groups in future Design Weekswill be a priority. As usual so much happenedthrough the generosity and enthusiasm of agreat team, in the great IDI tradition, howeverthis is not a long term option for an event ofthis kind and we will certainly be seeking moreconcrete support and funding from theappropriate bodies – who are they I hear youask! All will be revealed.! We now know thatprayers, pieces of string and selotape are notlegal tender!Hopefully you all benefited from some partof the Week and it will continue to be a priorityto have stimulating events for the variousprofessional design disciplines. The responsefrom so many was how challenged they wereby experiencing other disciplines! It is also agreat opportunity to promote awareness of allaspects of the value of design to a much wideraudience who are all, in some way or other,patrons of design – be it the cornflakes packetor the latest home entertainment system!.This is a slow burn but will grow. This is theplatform from which to reclaim the muchmaligned term “Design”. We are also keenthat potential new designers are exposed tothe possibility of the different disciplines andthe creativity day has been a resoundingsuccess in this regard.As with all babies, you love them to bits andwant the best for them. We look forward to thetime when this baby will be doing its own thingas a grown up – and maybe inviting us out for adrink!. Nappies might have been disposed ofby now – thank God – but there is still a goodbit of growing yet so we will are keen to receiveany amount of good parenting advise from youall, who might have lots more ideas andexperience to draw on.‘The Foreign Affairs of Dutch Design’. It seemslike a strange title for an exhibition, but whenyou realise it comprised of work done by Dutchdesigners for foreign clients, or in some casesmultinational clients based in Holland, then itmade sense. In many ways it was a refreshingshow of work; no nominations, no awards, nosour grapes – just a showcase of the very bestin Dutch visual communication, product andspatial design. Clear, cascading typography byThonik explained the work on a beautifullydesigned display system by Gilian Schrofer.And it wasn’t just flat graphic panels, realproducts were there; the Senseo coffee maker,the Bugaboo pram from ‘Sex and the City’ andthe Sexy Relaxy chair by Richard Hutten. Itwas inspirational. It made you glad to be adesigner. With your head full of ideas youwanted to get back to the studio and do better.The exhibition was an initiative of theAssociation of Dutch Designers (BNO), theDutch Design Foundation (Premsela) andsupported by EVD, a division of the DutchMinistry of Economic Affairs. Over the pastone-and-a-half years the exhibition had beento London, Cape Town, Berlin, Amsterdam,Budapest, Munich and finally Dublin.There are 46,000 designers in theNetherlands and they contribute €2.7 billionto the economy. This is no accident, thenumber of jobs in the Dutch creative sectorgrew by 25% in the past ten years due to agovernment policy which fully embraced thepower of design, both culturally andeconomically.We were very privileged to get thisexhibition to Dublin. Andrew Fallon suggestedthe idea to me and with the help of Bert vander Lingen and Ruth Connaughton at the RoyalNetherlands Embassy we made it a reality. Ittook a year of careful planning and thecommitment of a small group of motivatedpeople, in particular David Smith (IADT),Ian Doherty (ICAD), Arthur Duff (IDI ) andShane O’Toole (Irish Architecture Foundation).Foreign Affairs was a catalyst for a wholeseries of satellite events – talks andworkshops by Koeweiden Postma (Graphics),Kesselskramer (Advertising), MVRDV(Architects), Warehouse (Multimedia),Natasha Drabbe’s Re-f-use (SustainableProduct Design) and a showcase ofcontemporary furniture design byHella Jongerius and Marcel Wanders.These events added a distinctly orangeflavour to DesignWeek 06 which for the firsttime in its ten year history stepped up tointernational status. And what a week it was!The Dutch events attracted over 2000 people.Wim Crouwel turned up along with 100 or soinvited guests at the excellent ‘Exhibition inMono’ organised by Image Now in associationwith on-line design store Blanka, and that wasbefore Design Week had even officiallystarted. 140 people at the opening of ForeignAffairs with a further 750 visitors over thecourse of the week, 220 people atArthur Duff

DESIGNWEEK29The Morrison for Koeweiden Postma andKesselskramer, 800 people at the Gaietyfor a mesmerizing and truly inspirationalpresentation by Winy Maas of MVRDVArchitects, 70 people at NCAD for WarehouseMultimedia, 100 people at DIT for NatashaDrabbe’s lecture on sustainable productdesign, 60 people at IADT for Gilian Schrofer’slecture on exhibition design and a hugeturnout for the ICAD Upstarts exhibition atCreative Inc., notably attended byJacques Koeweiden and Hugo van den Bos.For once our many creative clubs – ICAD,IDI, GDBA, RIAI and the Irish ArchitectureFoundation – came together under one bannerto showcase creativity. Everybody was into itand everybody had a part to play. I can’tremember a more positive buzz around thecity for things creative.Once again it took the Dutch to provide thevision and inspiration. In one way or anotherthey have been prodding us into action heresince the early 1950s. It was therefore verygratifying to hear an Irish Government Ministerfinally acknowledging the contribution ofJan de Fouw to the Irish creativelandscape. And indeed heartwarming to seeNorman Mongan acknowledging the immensetalent of Piet Sluis at the screening of Oranje& Green at the Netherlands Embassy.It was a Design Week to remember. I hopewe can do it again, but it will be very difficultto find the same support and commitment wereceived from the Dutch in putting it all together.The success of the Foreign Affairs exhibitioncould be mirrored here by a positive showcasefor Irish creativity. ICAD, IDI and the GDBAhave their award shows and they have animportant role to play in raising standards, butwe are not seeing a representative showcase.Many are tired of creative competitions.Perhaps it is time for an exhibition that simplycelebrates Irish creativity and sends a positivemessage to our government about the culturaland economic power of design.Conor Clarke is a Director of Design Factory.Dutch Design;Talking to Marcel WandersBy Eleanor FleggTo mark its tenth anniversary, and with helpfrom the Royal Netherlands Embassy, IrishDesign Week went international in 2006 withan impressive calendar of events that includedthe travelling exhibition, The Foreign Affairsof Dutch Design. ‘The exhibition is focusedon objects that were designed for foreignclients or that were a huge success abroad,like the Haircare range from Remington orthe Philishave from Philips,’ explainedNatascha Drabbe of the Dutch designfoundation. ‘You have to remember thatDutch design isn’t just about witty conceptualdesigns, it’s also about the ordinary objectsthat people encounter in their everyday lives.’The Dutch may have succeeded in thedesign of unglamorous everyday objects, butthey’re equally distinguished in cool andfamous design. Among their superstars,Marcel Wanders is close to the top of the pile.He was voted designer of the year 2005-2006by the Elle Decoration Design Awards and hisdesigns are on display in illustrious places likeMOMA, New York. Wanders is probably mostfamous for his Knotted Chair (1996). Itbecame, as Wanders describes, ‘an icon ofwarm and romantic design.’ The chair is madefrom knotted rope that has been impregnatedwith epoxy resin and hardened. The chair issurprising because the material that youexpect to be soft and pliable is actually rigidand can support weight. It’s also cocking asnook at design snobbery because the knotsare created using macramé – that terminallyun-hip eighties habit of creating horribleobjects in knotted rope.There’s an element of the unexpected in allof Wanders work, but he doesn’t like to call ithumour. ‘I’ve always been sceptical aboutjokes when it comes to designing products.Jokes are funny the first time, the second timethey are not so funny, and the third time theyare not funny at all. A piece of furniture musthave a long term value, it’s not something toloose interest in, but a if product is trulyinnovative it will have an element of surprise.I make you believe that you know the answer –but really the answer is the opposite of whatyou think.’Wanders’ VIP Chair is an example. ‘It lookslike an elephant, more or less immoveable,with big thick legs. The surprise is that, whenyou push it, you discover that it’s on wheelsand moves really easily. The feeling that youget when you experience this resembles thatwarm feeling that you get when you hear ajoke, but it’s more subtle and more lasting.It’s like an unexpected welcome.’The Knotted Chair wasn’t included inThe Foreign Affairs of Dutch Design, whichconcentrated on twenty-first century designs,but its successors were on display. Theseinclude Wander’s Crochet Table (2001) –a perfect white cube of rigid crocheted fabric –and the innovative Carbon Chair (2004),which Wanders designed with Bertjan Pot.The chair, which weighs just over 2 lb, is oneof Wanders favourites. ‘The chair is made ofcarbon fibre, a plastic associated with aircraftContinued overleaf >

30 NEWStechnology. It’s as soft as lace, but very strong.If you harden the material you can use thatstrength,’ Wanders explains. ‘I love it becauseit’s functional and user-friendly, but alsobecause it’s economic. I’m an industrydesigner. I want the designs to be there for theworld, but you have to start with the limitededition handmade work to develop the ideas.’Wanders also has a collection of limitededition pieces ‘Wanders Wonders’ that are onlyavailable from his own studio. These includethe amazing Snotty Vase (2001). The Snottyisn’t just inspired by snot – the design isbased on a 3D scan of airborne mucus. Thevase, which costs a staggering 1,500 euro,comes in five different versions with nameslike Influenza, Pollinosis and Sinusitus. Eachversion is an exact replica of sneezed particlescaused by the particular ailment for which itis named.‘It’s visually beautiful and emotionally overthe-top,’says Wanders. ‘We took a guy whowas sneezing a lot and used 3D scanners tofind the form in the fluid matter that wasflying around. When we had captured theseshapes on computer, the information was sentto a laser centring machine. This is somethinglike a three dimensional printing process,where a shape is created by thin layers ofplastic dust melted together by laser. It’sfantastic because you can make any form thatyou can think of. It’s a process that combinescraft with super-hi tech work, so in a way it’sbreaking down the barriers between craft anddesign and industry. I love to break down thethings that divide us because I don’t think thatthey’re necessary. I try not to be a revolutionarydesigner – I don’t give a damn about that – butit’s important to be evolutionary.’More information on this can be obtained fromwww.design.nl and www.premsela.org.Eleanor Flegg is a writer with an interest in design.She is a columnist with the Sunday Times and aregular contributor to the Irish Arts Review.Showcase –A Vehicle to Promote Irish DesignThis article has resulted from an informaldiscussion in IDI Council when interest wasexpressed as to how Showcase is nowperforming – having always had a very goodreputation – and to introduce it to the broadbase of IDI membership.I am a jeweller/ designer who exhibits atShowcase – the Irish international craft, gift,fashion and interiors fair which has been aplatform which has successfully launchedIrish craft, design and giftware to overseasbuyers in particular for 31years. Showcaseis organised by Showcase Ireland Events onBehalf of the Crafts Council of Ireland and isrenowned for the high quality of its exhibitors.The show has always attracted considerableretail and corporate buyers; thus makingShowcase a valued fair for all involved.However, in recent years, and verynoticeably in Showcase 2007, I and mycolleagues – in Source and in larger Irishcompanies have noticed what seems to bea considerable drop in buyer numbers –resulting in a lack of business for thoseexhibiting at the show. This may be the resultof changes in the requirements of the marketplace. The number of exhibitors dropped inShowcase 2007. Less manufacturing nowtakes place in Ireland. This however does notentirely account for the present situation.Sadly, one approach which appears to haveoccurred to resolve this downturn in exhibitornumbers is to be less discriminating in thequality of some new exhibitors accepted.Buyers who attended the last Showcasenoticed this and were disappointed. Thismeans that the renowned Showcase brandis in danger of being diluted and taking ona different identity. It is therefore time fora rethink.The Irish consumer has a great awareness ofgood design and quality and enjoys buying it.Great product /gift/jewellery and textile designis available from Irish manufacturers anddesigners – requiring various avenues forexposure to the market place. The presentsituation is resulting in Irish buyers attendingfairs abroad and avoiding Showcase.Consequently, Irish designers and producersare exhibiting in greater numbers in Europeand further afield, where there is greatexposure to buyers from all over Europe andelsewhere. While I consider that developingthe export market by visiting the marketconcerned is necessary, it is depressing thatShowcase which was once the epitome ofquality of manufacture and design could loseits edge and leave exhibitors vulnerable.It would be wonderful to have a morefocussed fair with clearly defined display areasin some of the following areas or variations asmay be decided: Design forum, gift, jewellery,interiors, textiles, craft, food, importedproduct etc. The layout of the show requirescareful consideration – with the needs of bothexhibitors and buyers to be taken into account.To exhibit is expensive – and is the cost isonly justified if the quality of the show andconsequent marketing and promotion of itreflects this and the requirements of the buyers.I look forward very much to the futureat Showcase.Breda Haugh MIDI – is a jeweller/designer currentlycompleting orders from Showcase 2007. Other areasof work have included designing for the manufacturingjewellery industry in Ireland and developing andproducing unique jewellery for the National Museumof Ireland – based on some of their artifacts.Design of the IDI PinBy Breda HaughThe IDI Council commissioned me to create alapel pin suitable as a corporate gift. The briefwas to design and develop in sterling silver athe lapel pin based on the IDI logo.Design options were presented to theCouncil; from which one was agreed, and theprototype pin was developed. The Cad Camprocess was utilised for some of this process.The pins were cast in sterling silver andfinished, polished and textured in my studio.The surface and recessed areas are texturedwith the sides highly polished.As this was a corporate gift, goodpresentation was important. A box wassourced in a suitable blue with reference tothe IDI colour. Small explanatory labels -which were designed by graphic designerAndrew Williams – were inserted into theboxes with each pin.The pin has been presented to all pastpresidents at the event in Farmleigh onDecember 8th 2006. It was also presented toSenator David Norris and Noelle Campbell-Sharpe on December 8th 2006 in the OriginGallery , Dublin at the IDI Auction, and to anTaoiseach, Bertie Ahern, at the event in theNational Museum to launch the Frank RyanBursary on February 1st 2007This type of item is very important forthe IDI to have as it assists in establishingthe brand fully and promotes design in aprofessional way.

Hook and I;an exhibition by IDI member Roisin GartlandRóisín Gartland, well known in the fashionindustry for her couture leather garments, isperhaps less well known for her artwork. Lastyear Róisín, who obtained her fine arts degreefrom iadt Dun Laoghaire, held her first soloexhibition from March 27th to April 6th inMisery Hill Gallery, The Tower, Pearse Street,Dublin 2.Róisín represents one of many specialistdesigners who are exploring different elementsof their creativity. This was common in otherperiods of history when many artists were alsoproduct designers and illustrators.The theme of the exhibition was expressedin the materials and tools of her business- theleather trade, as well as in ceramics andbronze casting. As Róisín says in herexplanation of the theme of the exhibition;“I inherited approximately 3000 pairs ofhooks and eyes from my father, who was afurrier. These stayed on a shelf in my studiofor several years. Occasionally I incorporatedthem into garments. My ultimate desire was toutilise them in some way to mark their journeyfrom the old workshop, from my father’s time,to my own… In this exhibition, the simplehook and eye shapes are the basic elementsused to map the flux of life as it moves fromone phase to the next. They have become avisual language, used to express joy, tension,harmony and balance…The ceramics are avehicle for impressions of the tools and thehooks and eyes, thus creating footprints in thefired clay of the archaeology of the family andthe relationships within it. The clay conveys atransient feel, but this is deceptive – the firingmakes for solidity…Leather is used both as asupport and a binding material. The boundpieces take the form of uncoiled suspendedswirls that interconnect in pairs or hangsingularly…Movement is captured in bronzeinterlocking twists that are both playful anddurable. These are originally formed bydipping shapes made from twisted tissuepaper into hot wax. These shapes transformfrom solid to liquid and back to solid again,before taking up a new form entirely when thewax has hardened, trapping the finalmovement”The writer Michael O’Loughlin madethe following points in his introduction tothe exhibition.“These images have a curious effect. Weare the first generation for whom, thanks tomicroscopic photography, the image of ourown essence, the machine that generates us,has become almost a visual cliché. But in thiswork, they are seen anew, as if the materialhas found this form by itself, a form whichwas inherent in it, and which expresses it.There is something primeval about thefurrier’s trade. After all, its handiwork canbe seen on the earliest known cave paintings.Fundamentally, we are wearing the skins ofour fellow creatures, in order to assume theirqualities, both practical, in terms ofprotection from the elements, and moreintangibly, to assume their other qualities.It is no accident that Venus wears Furs.Her use of leather in many of the pieces isfunctional, as it is a pliable and durablematerial. But it also gives a strangelyshamanistic atmosphere.Her ceramic work is full of strings andthreads, again material inherited from herprevious life. But with those photographicimages imprinted in our visual memory, wecan see them as microscopic pictures ofchromosomes. They leave fossil-like printswhen burnt away in the kiln, just as thegenetic code imprints the raw earth we aremade of, to be fired by experience.The ceramics, sculptures and installationsas a whole give the impression of a distinctpersonality systematically generating animage of itself, in obeisance to unknown butimplacable rules. Whichever form she uses,her work carries the aura of true art.”The exhibition, which was opened byProfessor Brian Maguire – NCAD, was verywell received and Róisín was happy with theresulting sales. Since the exhibition endedwork has been shown at; the Access to Artsgallery, ‘Aniké’, Longford Place, Monkstown,Co. Dublin. Pieces of her work were auctionedby the IDI in the Origin Gallery in December2006Róisín is now developing her creativework in a further direction as well as workingon new designs for her couture work.Photography by Stephen Moran.Breda Haugh MIDI is a jeweller/ designer currentlycompleting orders from Showcase 2007. Other areasof work have included designing for the manufacturingJewellery industry in Ireland and developing andproducing unique jewellery for the National Museumof Ireland-based on some of their artifacts.‘A Bronze Pair’ Roísín Gartland workProfessor Brian Maguire and Roísín GartlandNEWSBombay Sapphire glassNow in its fifth year, the Bombay SapphireGlass competition’s popularity with emergingdesigners continues to grow with more andmore countries from around the world takingpart. This year, 26 countries will berepresented in Milan, including: Belgium,Canada, China, Czech Republic, Denmark,France, Germany, Hong Kong, Ireland, Italy,Japan, Malaysia, the Netherlands, Norway,Poland, Portugal, Russia, Singapore, SouthKorea, Spain, Sweden, Taiwan, Thailand,Turkey, the UK and USA.Many IDI student members have enteredthe competition and Cameron Ross MIDIand Barry Sheehan MIDI have been involvedin the Jurying process with other judgesBrian McGee, Nicola Connolly, Eoin Lyons,Sinead Christian and John Rocha.Waterford Crystals' involvement has madeit possible for the students to see their workproduced by an established manufacturerand has also taught them about process andthe technicalities of designing for production.The IDI look forward to further involvementwith Bombay Sapphire in 2007.Tara Whelan with her winning glass Ripple 200631

NEWSWANTED!IDI members who are interestedin getting involved in revisingand publishing documentsrelating to Best Practice in thevarious design disciplines.Volunteers please contact Rina at idi@indigo.ie.We need your help!Forthcoming eventsIDI Interior Seminar 2007date to be confirmedIDI Best of Design ExhibitionCarlow IT – June 2007Frank Ryan Student BursaryIDI Design Awards 2007– Call for Entries to be issued June 2007– Deadline for entries will be Fri. 31st August 2007Design Week 20075th-11th November 2007IDI Charity Art AuctionFriday December 7th 2007CALLING ALLPHOTOGRAPHERSThe IDI have urgent need ofphotographers to document themany design events organized.All photographs will be credited.If you want to get involved, please e-mail Rina atidi@indigo.ie.ObituaryIt is with great sadness and deep regret thatwe post news of the sudden and tragic deathof our dear friend and colleague, Alastair Evesof Invest NI.Alastair suffered failing health during thepast nine months and had been on sick leavesince last October. Tragically, Alastair diedsuddenly last Saturday afternoon – 14th April.As Head of Invest NI’s Design Group,Alastair played a pivotal role in promoting thebenefits of design in business, he worked withthe Institute of Designers in Ireland on manyof our Design Awards and North / Southinitiatives. Always the engineer, he combinedlogic with lateral thinking and mastered theart of creative problem solving.May he rest in peace.Section representativecontact details:Exhibition & Interior Design/ ArchitectureCeline Cummins MIDIpropshop@eircom.netMaria MacVeigh MIDI086 172 7042mariamacveigh@ireland.comProduct & Industrial DesignArthur Duff MIDIt. 01 855 8070arthur@duff-tisdall.ieBreda Haugh MIDI01 670 5438bredahaugh@eircom.netFashion & TextilesAngela Woods MIDIt. 01.636 4277awoods@ncad.ieEducationDeirdre Doherty MIDIt. 087 123 5186deirdre.doherty@gcd.ieKieran Corcoran MIDIt.01 402 4141kieran.corcoran@dit.ieNew MediaDerek Brady MIDIt. 01 6789992derek@webfactory.ieKaren Hanratty MIDIt. 01 400 5028karen@pixeldesign.ieTelevision & Stage DesignCarol Coffey MIDIt. 01 2084150carol.coffey@rte.ieOUR NEWSLETTER SPONSORSThank you to all who made this edition of Creative Axis possible.Thanks to all our contributors, our sponsors, the IDI Council and IDI Officers.Special thanks to our designer, Paul Kelly of AV BrowneDesign ManagementAndrew Bradley MIDIt. 01 2020 535andrew@bradleymcgurk.comMartin Gaffney MIDI.t. 01 668 8235martin@designworks.ieA comprehensive andversatile range of qualityspeciality and commoditypapers from Italy.Samples and specificationsare available from:paper assist ...Unit 7 Bluebell Business ParkOld Naas Road, Dublin 12t 01.450 0303f 01.450 0316e info@paperassist.iethe medium is the messageWG Bairds(Printers)AD to beplaced hereVisual CommunicationsBarry Bodeker MIDIt. 01 203 3800barry@firstimpression.iePaul Kelly MIDIt. 048.9032 0663paul.kelly@avb.co.ukIDI Creative Axis welcomescontributions from membersand non-members. Articles forpublication should be sent to:Rina Whyte, Executive Officer,Institute of Designers in Ireland,The Digital Hub, Roe Lane,Thomas Street, Dublin 8T. +353 (0)1 489 3650F. +353 (0)1 488 5801E. idi@indigo.ie.Whilst every effort is made tocheck the accuracy of informationcontained in the Newsletter, theIDI cannot accept responsibilityfor errors and omissions.The views expressed by contributorsare not necessarily those of the IDI.