The answer from @hjonesy (that’s our Helen) was as profound as it was immediate: it’s a social experiment; something to try to see if it works. And I think she’s hit the nail on the head.  This isn’t about music. This isn’t about the X-Factor, Simon Cowell, wee Joe, or some funny fellas in hoods. It’s about the most seismic shift in consumer behaviour that has happened for a generation, that has started in earnest in 2009.

If there is one thing that we are to remember 2009 for it must be the rise of social media and its ability to empower people, en mass and as individuals, as never before. For providing the opportunity for a single voice to express an opinion and for that opinion to join with others that are similar; growing, developing and coagulating as more and more join in, until their presence can no longer be ignored.  Until their presence is so great that it becomes more significant than the subject that inspired the first voice to be raised. Until the desired and necessary change occurs.

Think Jan Moir. Think Trafigura. Even watch Gordon Brown on TED (no, do). In 2009 we have passed the tipping point at which the balance of power shifts from corporations and institutions (the brands) to the people. It marks the point at which brands have to start to think and operate differently. The point from which no organisation can ever be forgiven for putting itself first and for not taking its responsibilities to its audience, or the wider world, seriously.

Now, the RATM movement isn’t quite the real thing just yet. As Helen says, it’s an experiment rather than a genuine desire for a Christmas No.1 of one type versus another. It’s wrapped up with the irony that the real winner is Sony BMG who have both artists on their label – some will argue that the ‘enemy’ ends up winning after all. But that’s to miss the point. The enemy here isn’t Sony, or Cowell. It’s the old way of doing things. The past. And, in 2009, it’s been defeated.

I’m looking forward to 2010.

This week (November 2009) the latest table was published. The Partners is No.1.

Now this blog isn’t a place to be boasting – we’ll do that elsewhere, I’m sure – but we thought it deserved a mention nonetheless.

Thanks to everyone, within and without, who has helped us achieve that. It feels kinda good.

Image taken from www.itsnicethat.com

Whilst on the subject of books (just in time for christmas you might say?), John Sorrell has compiled yet another coffee table book of the most “Inspired Design from Great Britain”, strangely enough entitled: Creative Island II.  There are some quite amazing pieces inside including two from ourselves: The Grand Tour project for the National Gallery and everyone’s favourite sausage, Mr. Singh’s Bangras. There is also some insider insight into how these ideas came to fruition.

On sale on Amazon for £16.97. Bargain.

After the success of our make-it-yourself catalogue for last year’s Jerwood show ‘an experiment in collaboration’ (featured in the Creative Review annual, Design Week Awards runner up and winner of a Platinum award at Graphis) we were asked to make a catalogue for Jerwood’s latest show: Laboratory.

The Laboratory is an experiment: three artists take over the gallery and, starting from nothing, build a show as they go – a totally unpredictable process, with no way of knowing what the work will be like from one day to the next. Everything they do exposed to scrutiny and comment, from the resident writer and photographer to the public and press.

With an experimental show that is one big work in progress we set out to make a catalogue in the true spirit of the show: unpredictable, exposed and experimental. We decided not to design a catalogue. Instead we designed a process,  a way of creating a catalogue that we couldn’t predict and couldn’t control, a way of gathering and documenting everything that happens in the show in real time, built, like the show, in the gallery itself, and only finished as the show closes. We’ve just let it unfold…

Blog
The process started with the Laboratory blog. The artists, curator, writer, resident photographer and designers posted real-time updates on the show to the blog which also automatically draws in related content from external sites like twitter and flickr. Each post has a print option which we use to output content in real time for the printed catalogue. Every post prints the size it appears in the blog, so no two pages are alike.

Catalogue
Each day’s posts are added to the catalogues which are on display in the gallery so you can see the them growing as the  show grows. Posts are joined vertically to make one continuous chronological document. The catalogue kept growing right up until the moment the laboratory closed its doors.

Visual History of Typefaces and Graphic Styles
For anyone bored to tears with the same 10 typefaces we use for everything, a veritable cornucopia of typography.
Beautifully produced and fearsomely obsessive: the ‘Visual History of Typefaces and Graphic Styles’. And yes, this is only Volume one.

Volume two is available on pre-order from Amazon now.

• What’s the best way for me to get in touch regarding a placement?
  Contact a studio, ideally with a name of someone specific and provide three to four examples of your best work with a CV.
• How many placements do you give per year?
  We have 24 slots throughout the year, lasting four weeks but we can occasionally allocate for longer or shorter periods.
• What’s involved in doing a placement?
  We treat you like one of the team, not a visitor. We throw you in at the deep end with lots of different tasks and try to get you involved in many different projects. Scanning can’t be avoided and we have high expectations for tea-making but in general we get you designing, but more importantly we get you thinking – it’s why we got you in in the first place! A placement is your chance to shine, so don’t be shy. Ultimately, we want to miss you when you’re gone!
• How much does it pay?
  Although we expect you to do it for love, we pay £200.00 per week.
• Do placements turn into jobs?
  Rarely, unless we’re really really busy and you’ve been doing such a great job that we couldn’t bear to let you go.  But, in general they provide us with a chance to consider you as a potential future member of The Partners once you’re finished. (We like to think of it as road testing).
• How long do your projects take to finish?
  It varies, speedboats and cruise liners…
• How many people work at the Partners?
  In our London office we have around 40 people – designers, project managers, creative directors, strategic consultants, partners, some freelancers, oh and a dog.
• Is it all work and no play?
  Definitely not. We have a summer barbecue, a Lock In, a Christmas party and pub quiz every year, not to mention the reception turning into a pub every Friday evening…
• What’s your favourite typeface?
  Don’t be so geeky.
• Any general don’ts?
  Lie (it’s a really small world)
  Point out weaknesses
  Moan or badmouth anyone
  Pester or be pushy
  Seem desperate or over explain your work
• Anything else?
  Make sure that you check that the designer that you are contacting still works there and you spell their name correctly!
  Spell check any letter that you send!
• Do you have any interview advice?
  Arrive a bit early so you’re not in a flap. Pack your stuff well so it’s easy to reveal. Be enthusiastic and look interested. Don’t be surprised if you don’t see the person you expected. You may also have to go back over your work with some else who’s been called in. Don’t expect an on-the-spot offer (although it can happen). But most importantly, be yourself.
• Are there any books that you would recommend?
  Plenty but some of the oldies are still the best. Here are three:

  A Smile in the Mind – written by the much-loved founding Partner David Stuart, A Smile in the Mind is an classic example of getting ideas rather than just style into any design project, while still having some fun – (we called this book the ‘designers bible’ at uni – Kev)
  
  Problem Solved: A Primer in Design and Communication – by Michael Johnson – Problem: you can’t buy a book about problem-solving? Solved: you can now.
  
  The Art of Looking Sideways – By the late Alan Fletcher, it is a testament to visual awareness which Alan himself describes ‘a journey without a destination’.

Every entry is rigourously assessed by a team of hard-nosed typographers and designers (our own Jack Renwick and Mike Paisley included), and only the best submissions are deemed good enough to be awarded. The students are also offered membership of the society, which is a nothing to be sniffed at, with only around 30% of students making the grade.

We were especially lucky to have Alan Kitching, a revered typographer, and printmaker with us, presenting the awards to students; all of whom seemed inspired and excited to get a chance to meet him. Or was it the free bar that got them going?

Congratulations to all the students who collected their certificates on the night, and of particular note, Chris Mahoney, of Lincoln University who not only managed to receive a commendation for his typographic representation of Pink Floyd’s The Wall, but also collected the Vincent Steer Award; named after the Societies founder – the highest accolade available, awarded to the single most outstanding submission. Clever boy!

Chris Mahoney, University of Lincoln

Finally a different sort of congratulations go to the affectionately dubbed ‘Drunken of Jordanstone’ students from Dundee. Who managed to withold the long-standing tradition of drinking the bar dry and being the last jolly mob to leave. Well done guys and girls, you make us proud – There’s more work featured after the break…

To encourage young designers from schools and colleges, our Creative Partner Greg Quinton was recently asked by D&AD to provide some pearls of wisdom in a personal take on having a career in design:

You may have seen all the fuss about “The best job in the World”. Caretaking a tropical Island? Wonderful. Everyone thought so, but I beg to differ. Nice for a long holiday from a British Winter, but long term? I believe the best jobs mean loving what you do and I love the creative industry.

Rewind twenty years or so ago to when I graduated, Macs were grey plastic bricks called Mackintosh. Phones were mobile (if you were strong enough) but everything in the shops had a prefix of ’designer’. It was a boom time for jobs and the coolest job around was in Graphic Design. I knew I was lucky with my timing even then.

At school I kind of knew what I wanted to do: design record covers, store bags, vans – you know – cool commercial things. I knew I wasn’t an artist. The problem was that nobody knew if it was an occupation. My careers advice lady stroked her beardy chin (yep nasty) and announced “You can be: an Archeologist, a librarian or – if you can pass maths – an architect” I was not best pleased, but design simply hadn’t made it onto the list of ‘real jobs’ yet.

So, searching, I blagged a place onto our local foundation course, worked bloody hard for a year and got shouted at every day for not drawing well enough. Finally the course leader said, “I’m sorry Greg, but you still can’t draw well enough to be an illustrator (long pause) I’m afraid the only option left for you… is graphic design.” She considered this a failure. I was in seventh heaven.

College was a joy. I loved every second of it. I knew this is what I wanted to do. From being bored and pretty average at school I was finally in my element. I wanted to do this forever, but knew had to find the right place. I drew up a short list without thinking I was good enough to work at any of them. Passion forces luck (and I was very passionate) and I got out there and did a D&AD workshop, interviews by the dozen, work experiences, made tea and did whatever I could to be noticed and get recommendations. Finally I landed an interview with Nick Wurr at The Partners who were at the top of my list. He (got sick of the pleading) and gave me a job.

Fast-forward twenty years and two recessions. I’ve forgotten many things but I’ve also learnt:

Creativity can solve so many issues. By using communication and design we can change perceptions, improve our environment and add real value to businesses.

We should always remember that clients don’t owe us anything. They take risks when they buy creativity. They could always play safe. Therefore, you should always avoid arrogance and work hard to create the best possible solution for every single project, whatever the client or their situation.

Most creative people (as a breed) are ‘givers’ and are generous with their personal commitment, skill, energy and passion. For many it is a vocation. This is a strength and should never be taken for granted or abused.

In these tough times it’s important to remember that the creative industry always needs new talent. This current ‘crappiness’ will come to an end at some point. We know that clients who invest in creativity during these low points will come through stronger than those who don’t. It is the same with agencies.

Try and have the long-term view. Agencies might not be able to give you a position in the short term, but please don’t give up, If you are truly passionate about your potential please keep going. Do placements, freelance, talk to everyone, do workshops, win competitions, set up your own thing, keep your chin up and do anything to avoid compromise for as long as you can. If you are good, there is a place waiting for you.

It might just be the best job in the World.

Greg Quinton
2009