D&AD Blog

Behind The Magic: Bringing Print and Digital Together with QuarkXPress 8

We are pleased to present a story this week about how Gravity London use an exciting brief to learn a thing or two about merging disciplines. Seamlessly coordinating print and  digital teams to demonstrate the creative functionality of   QuarkXPress 8. The more we learn, the better our ideas can become. Thanks very much to Valentina Moressa at Quark for sharing this great case study with the tutors and students of our University Network.

Behind The Magic

Paul Anderson is the creative director at Gravity London, one of London's hippest agencies, working across TV, press, outdoor, radio, DM, ambient, experiential and the world of digital, with clients the likes of Investec, Toyota and Adecco.

At Gravity’s, like in most agencies, the creative department is split between press and digital. Paul, however, is fully aware that “there’s not going to be one or the other anymore in the world.  It’s just not really feasible.  So anything that can help the crossover of those two disciplines has got to be a great thing.”

When Gravity was approached by Quark to come up with the creative idea for a new campaign to showcase QuarkXPress 8’s Flash functionalities, the teams got together for a brainstorm and found that there was “something special about that functionality and the sort of creative tool box that it gave you. With QuarkXPress 8 you can make a transition from print to interactive in a nice easy way in an environment that you know and love”.

The big idea? “Perform magic with Flash in QuarkXPress 8”.

Paul admits: “It is effectively magic, that’s how we see it.  It’s like a little magician’s toolbox of tricks. And in the process we’ve actually learned to perform a little bit of magic ourselves  “

Gravity’s print and web team worked closely to create and craft the initial idea through to the writing, development and building of the end product: a microsite with Flash functionality, a digital advertising campaign and 100s of Flash resources that QuarkXPress users can download for free. All of this- designed and built with QuarkXPress 8.
 

Gravity also produced a series of ‘Behind the Magic’ videos to give an insight into the design challenges they faced and how they used QuarkXPress 8 to overcome them. They were using QuarkXPress 8 to combine Web design and interactive functionality in one application and found themselves simply having several ‘Eureka!' moments and realising how easy it is to create Flash resources.

Gravity’s art director, Tom West, on the creative journey with QuarkXPress 8: “As an art director, it’s very important to understand that the nature of the advertising business and the creative idea is actually moving a lot more online and a lot more interactive.  So you need to have an understanding of what is going on and the interactive side. I think the more you know, the more you learn, the better your ideas can become.”

Go Digital Or Die?

As D&AD and Hyper Island announce our partnership bringing the Hyper Island Master Class to the UK, we investigate the skills gaps that the digital revolution has precipitated.

Most people feel a bit behind when it comes to that thing termed ‘digital’. Even hardened professionals admit that keeping up with the pace of change can be impossible. So how can agencies ensure they leverage the opportunities that digital media offer them?

There is a widely acknowledged dearth of graduates with the right skill sets and competition to recruit is fierce. A fact demonstrated by the high placement success rate of educational institutions like Hyper Island, who specialise in this area. So training existing staff is key as well.

Harry Fowler at Cogs Agency recruits talent with a strong digital bias to creative agencies. He thinks that training is essential if the industry is to avoid the same small number of skilled people being headhunted around the industry. The talent pipeline needs to be kept active and one way to do that is to retrain existing staff. ‘A crossover of skills is needed between traditional and digital agencies’, says Harry, ‘Digital agencies need the strong brand understanding and conceptual approach of traditional creatives. Traditional agencies need people who understand the process-led production of digital work.’

One agency that has taken the bull by the horns is Wieden & Kennedy London. The whole agency participated in the Hyper Island Master Class. ‘Whether we like it or not, we are all ‘digital’ now’, says Sam Brookes, Managing Director of Platform, W&K’s innovation unit. ‘We all live in that world, and we all need to be able to navigate it to a certain degree’. A sentiment echoed by Harry who points out that ‘The rules have changed and so have consumers, those that fail to skill themselves up will be redundant.’

Sounds scary, but many see it as an opportunity. Sam Brookes says, ‘One of the important things about the Master Class was that it didn’t make us feel inadequate. In fact the training affirmed that we were already fantastic storytellers and it simply gave us opportunities to do more of that, more of what we do best.’ The pay-off has been visible across the whole organisation. ‘We now have a much better idea how to act as an agency in this new landscape’ says Sam.

Here at D&AD we were keen to work with Hyper Island given their track record; they have placed graduates in almost every large agency in London and delivered their Master Classes to professionals around the world. Their learning philosophy has great resonance with our own approach to training, using experience-based learning as a foundation. ‘It is fantastic that D&AD are working with Hyper Island to bring this training to the UK’ says Harry, ‘Everyone should want and need this’. If you are interested in the Hyper Island Master Classes read further or email workout@dandad.co.uk.

Create your way to a job

This time last year, Kingston University graduates Tom Wrigglesworth and Matt Robinson were spending a lot of time in the company of printers.

With the D&AD Student Awards deadline looming, they had hit on an idea to promote HP Workstations’ ability to bring to life ‘anything the creative mind can conceive’.

‘Our tutors always taught us to come up with a great idea, then work out the right channels to use,’ said Tom.  They made a film that turned the otherwise mundane experience of everyday printing into a brilliantly choreographed audiovisual orchestra. They spent days holed up in a studio coaxing a stack of printers to perform.

The team ended up with a double win – second prize at the Student Awards and Best New Blood – racked up thousands of views on YouTube with their film, and even ended up on the BBC News. Most important though, they got themselves jobs and while their D&AD wins helped to open doors, it was still up to them to step on through.

‘We had been exhibiting at New Blood for a couple of days and although people from the industry had visited our stand, we felt a bit nervous about approaching anyone,’ said Matt.  ‘We knew that time was running out though, so when we saw Mark Waites from Mother walk past, we decided to go for it.’

Tom hit play on their Student Awards film and Matt flagged down Waites to have a look at their work.  They went for it after that, and approached as many people they could to introduce themselves and show off their work.  ‘We probably spoke to about 20-30 people by the end of the exhibition,’ said Tom. ‘If someone was having a look, we’d catch their eye and tell them the story behind our projects.’  Eventually, they’d just walk up to people and introduce themselves, ‘because you never know who you’re going to meet’.

In the coming weeks, Matt & Tom followed up with everyone they met at New Blood.  They picked up a bit of freelance animation work along the way, and met with production companies, advertising agencies and design studios. 

In September, they got in contact with Mother and were offered them a work placement starting in December – all thanks to grabbing that opportunity at New Blood. Mother Creative Stuart Outhwaite also recommended the team get in touch with Work Club in the meantime as the agency had placements starting that month.

 ...and they’ve been there ever since. Tom & Matt landed a placement at Work Club and spent 3 months working on all kinds of pitches. ‘It’s been great to be involved in project from the beginning,’ said Matt. In December, the agency offered to extend the placement and the team was presented with a choice – stay at Work Club or take up the earlier offer from Mother.

‘We thought about it long and hard,’ said Tom.  ‘We’d really enjoyed our time at Work Club and felt part of the team, but we knew that Mother would also be a great experience’ In the end, they decided to stay on at Work Club to continue with the projects that they had been involved with. They contacted Stu at Mother to explain the reason behind their choice, ‘Stuart was really supportive of our decision’ said Matt. 

 Just last week, the team were offered permanent jobs at Work Club.

 So now that the job hunt is officially over, what advice to they have for this year’s graduates?

 Keep an open mind – ‘We met with so many different people across advertising, design and production that we got a good understanding of what our options were.’

Create your own opportunities – ‘We didn’t win first prize at the Student Awards, and I think that just made us work harder.’

D&AD Student Awards deadline is this Friday, 19 March

New Blood 2010

As part of the Free Range season, this year's New Blood exhibition is being held between Thursday 24 June and Monday 28 June at the Truman Brewery. We are programming a festival of fringe events around its location in Shoreditch and the theme of these events will centre on networking.

Exhibitors and guests at New Blood 2009

If you would like to exhibit at New Blood this year, your course needs to register as a member of D&AD's University Network and then apply for stands. Please contact either laura.woodroffe@dandad.co.uk or rhiannon.james@dandad.co.uk for more information and an application form. All stands need to be booked by the end of this month.

If you would like to get more of a feel for the event, please have a look at this Video of New Blood

One of last year's graduates wrote about their experience exhibiting at New Blood. Please see below link for tips and things they wish they'd known before!

http://aspire2enquire.typepad.com/aspire_to_enquire/2009/07/dad-new-blood-2009.html

“Not better, just different” - The battle to enforce brand guidelines

This week we have Franki Goodwin from BAFTA award winning Franki&Jonny discussing brand guidelines within film.

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A large portion of my client base is made up by the UK film industry. An industry that has produced some of the biggest entertainment brands in the world (Harry Potter, Lord of the Rings, James Bond etc) but that is also notoriously bad at creating consistent brands within its independent titles. Film has the opposite communication problems to most sectors (who are good at building brands but lack content for them) it has lots of great content but regularly fails to create a consistent brand from inception to release without the rigour of a studio/broadcast channel that creates all its assets from one source.

To challenge this behaviour, last year we set about introducing some traditional corporate discipline to an independent title by creating a set of brand guidelines for it. An attempt to bring together the disparate elements of a movie - titles, trailer, poster, website etc, all created by different companies over the course of a year. We created a simple, useable, set of creative elements and principles that could be applied across all media. This is pretty unusual in this area (the first and last set of film guidelines I ever saw were in the Saul Bass exhibition at the Design Museum!) and we saw it as a bit of an experiment.

I won’t go into details (client bashing is a spurious pastime indulged in by far too many designers) but as we are 5 weeks from release and looking at our third inception of The Title Treatment (currently Poster, Website and Film all have different typographic styles) regardless of some minor victories in consistency I think it’s fair to say it has not been as effective as we’d hoped!

This consistency problem appears not to be about the lack of guidelines, as I had previously assumed, but a lack of commitment to them. Whilst everyone signed off on them, did they really sign up to them? Did they understand the commitment they were making? “For richer, for poorer, for better or worse.. even if I get really really bored.”

I guess the inconvenient truth is that good, consistent corporate branding principles ARE a bit boring. Working with the same logo and the same colours over and over again is kind of tedious. Having the discipline and confidence to not get tired and therefore doubtful of the choices you have made and be seduced into change is really hard. Something that feels ‘better’ and worth undermining the existing visual style for most probably isn’t better, it’s just different, but for that reason feels more exciting. It's an interesting lesson to learn - even if your client paid you to make the rules doesn’t mean they wont ask you to break them, regardless of the bigger picture.

I think this tradition will continue whilst independent movies are sold as short-term products with a the focus on cinema releases country by country. But as the international territories break down and the independent market benefits from single, global digital release strategies with much longer lead times, the need for a more carefully and consistently branded indies will become more clear and discipline will prevail.

Until then I think we have to cherish the design gems that come out of the chaos. We only have to look at this year's Oscar contenders (Movie Marketing) to compare the consistency of Avatar with the mixed bags of Hurt Locker and Precious. But we can equally question whether more original (or dare I say 'better') work would have come out of the Avatar franchise with a free reign in each territory as much as we can how much 'bigger' Hurt Locker/Precious could have felt with more consistent branding. Independent film is an interesting un-branded anomaly in these globalised times.

Magazine Design and the Modern Man

Jeremy Leslie is director of magCulture, member of the D&AD Executive Committee and a passionate advocate of editorial design.  Busy, then!  He's agreed to share a few insights into his latest project, the redesign of men's magazine, FHM, which relaunched in the UK this month.

1. Can you describe the process of editorial design - are there unique challenges to the discipline? 

The basics of editorial design will be familiar to any graphic designer. Typography, grids, use of imagery and spatial composition all figure. But there are also a number of less familiar specialist skills involved.

First of all, you are one of a team of people with specialist creative skills. As designer you are responsible for every visual aspect of the magazine, but alongside you the editor has an identical level of responsibility for the choice of story and tone of writing. Then there’s the picture editor who will share with you responsibility for photography. You have to work as a team, taking on board each other’s views. I believe the roles of editor and designer are merging – the best magazines employ people who comprehend both content and its presentation.

A critical issue often overlooked by designers without editorial experience is that a magazine isn’t a series of single pieces but needs to hold together as a whole. The balance of text and image and any page can vary enormously.  The running order and variation from page to page needs not only be carefully considered but also open to change as the issue comes together. During production the whole magazine is in a permanent state of flux, and only when the final page is completed does that flux end and the flat plan become secure.

Harder still is the way that creating pace through the pages means sometimes a story will be designed and illustrated in a particular way to appear different to what precedes and follows that story, rather than designed purely in the best way for that individual story.

2. How do you start tackling a project for a well-established brand like FHM?

The first things to do were to get to know the magazine, talk to the editor, pull some tear sheets together from other magazines, then agree the right direction – agree a brief.

FHM is a long-standing brand that has lost its way in recent years. This made it a relatively simple brief. In its heyday it was one of the most influential men’s magazines, but it had lost sight of its audience. There was a strong magazine trying to fight its way through the wrong design – it was confusing to the reader, the content and look didn’t match. The FHM reader wants simple things presented without being over-designed. The design had to be invisible, which is harder to achieve than it sounds. Design-wise it had to look strong but unremarkable.

 

The various regular sections needed clearer, separate, identities. The whole thing needed a more masculine tone, meaning new fonts and a return to red and black as central colours. In most respects it was exciting working with such a longstanding and successful newsstand brand, but in one specific way it was disappointing. I’ve always felt the FHM logo was weak, so I proposed a revision to that but the publishers didn’t feel confident changing such a key asset.

3. The FHM redesign launched the same week as Apple's new iPad was unveiled.  Where do you think the future of the lad's mag and mainstream mag publishing generally lies?

If I had a simple answer to that I’d be a very rich man.

Magazine publishing is experiencing a collective depression at the moment caused by several factors, one of which is the presence of online competition. But the Internet is not the only reason for this depression. It’s easy to forget the massive boom the magazines industry has experienced over recent decades. Like other sectors, magazine publishing couldn’t continue to grow at the rate it was going. It’s been too easy to see a successful magazine, rip it off, and watch the money pour in from advertisers. A downturn was inevitable, and here it is: US publishers have just experienced a 9% drop in newsstand sales. Shocking from a business perspective but from a creative standpoint there have been too many similar magazines chasing the same reader. It’s time for a shake out, and the fact it’s happening is cause for long term optimism; a return to quality over quantity.

I’d separate reactions to the iPad in similar fashion. From a business perspective it’s the Holy Grail, a new way to publish content without the cost of paper, print and physical distribution. Whether or not the big publishers can build a successful business model with it remains to be seen – Apple will be taking a cut.

But from a creative point of view, the prospect of the iPad is very exciting. There have been plenty of attempts at merging magazine and digital content and presentation with little success. At last, perhaps, the iPad will make this possible. There’s a generation out there for whom the iPod Touch allows seamless access to digital content, be it music, games, news or utilities. The combination of image and text we are used to experiencing in magazines is ideally suited to this environment.

I rely on the Internet hour to hour, but as well as the open interaction it allows me I’d also like a more immersive, mediated digital content experience that is less open-ended than a website and provides the ongoing relationship I experience with magazines.

The future will be a mix of both. Printed magazines will continue to exist alongside digital magazines of some sort, whether its the iPad that proves the catalyst or not.

To specialise or not to specialise......

Thanks to Steve Price for this week's University Network article. Steve is founder of Plan-B Studio and writer of the www.designweak.com blog. We are pleased to invite him to contribute again to the University Network blog, posing a question about whether your students should be specialising or looking to do a bit of everything. It is something often discussed but how should graduates be advised on this matter and what are your experiences? We'd like to hear!

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Do you consider yourself an Interactive Designer? was a question I was asked recently. My response was ‘No. I’m an art director and designer.’ Arrogant git, maybe. But I’ve always seen my skill as a designer as my specialism because I firmly believe in two things 1) constantly challenge yourself and b) variety is the spice of life.

Ten years after graduating from an MA at Central Saint Martins and working for myself, I still constantly ponder whether my own portfolio is too broad. Am I a jack of all trades instead of a specialist, and if so is this a good or a bad thing?

This is not uncommon. I’ve spoke to two other designers about this recently who have both shared exactly the same sentiments, but equally question whether they have a clear message. So what if you find yourself in the same position, do you specialise or become a jack-of-all-trades or, to put it better, an ‘all-rounder’?

I protested at the time but the first two years of my BA was spent doing lots of life drawing, months spent hand-rendering pages and pages of 8.4pt/12.6pt Times New Roman. Why? Because for the first two years we were banned from using computers. When we started our third and final year on BA it was suggested that we choose an area of design to focus our work on; print, editorial, identity, advertising, etc. I refused and argued on the grounds that briefing ninetysix design students with three, usually quite dull, briefs was pointless. Plus, there’s only so many of ways you can ‘polish a turd’, not ninety-six. Plus, if a design degree is your time to carve your own path, why follow a huge crowd? You need to ask your own questions, and try, try and try again. As Sir Ken Robinson said, ‘If you’re not prepared to fail, how will you ever create anything original?’

In the build up to the millennium Steve designed a range of new cans celebrating advances in technology, exploration, communication and Pepsi.

Think about it – there is your final degree show, perhaps the chance to show at New Designers, or even the D&AD’s New Blood. How are you going to set yourself apart from the thousands of other design graduates?

‘The problem I feel with this kind of event is the sheer volume of design graduates who exhibit. Thousands upon thousands of ‘us’, all in University themed cubicles, stand in line, waiting to be spotted.’ Dave Cuvelot, recent graduate and exhibitor at New Blood.

I remember walking in to Islington’s Business Centre to set up was like walking in to a clone factory.
Thousands of very similar hopefuls adorning their four square foot of space in order to try and grab someone, anyone’s attention. It was, to put it mildly, fucking depressing.

I worried whether I’d fucked-up royally in my determination to try and experiment. But as I walked around I noticed similar briefs with similar executions appearing from different Universities/colleges. The Paul Smith one, the editorial one, the iSTD one… I didn’t worry for long.

Re-Union was a magazine that Steve produced, co-ordinated and designed himself in the final four weeks of university, focusing on new talent in design, fashion, music and writing

So to specialise or not to specialise? There is no right or wrong answer. If you choose to specialise or not doesn’t matter; that’s the point. It is how you communicate your strengths, your passions, your interests to the people that are going to pay you to work with/for them. In my professional career, as in my university route, I’ve experimented, tried new medias to work with and collaborated with lots of talented individuals. I’ve made mistakes, I learned lessons, but I have never, ever been bored.

Glenn Tutssel (Executive Creative Director at Brand Union) recently put forward a very interesting idea... ‘Our three-year specialist degree courses needs to become a three-year foundation course, allowing students to flourish, experimenting and making mistakes, to find new avenues of creativity.’ Glenn Tutssel, ‘Creative Weaving’, DW Creative Survey, Nov 2009

Special Note: I have recently realised that the very thing I try to improve for clients is the one thing my own message and web site has been lacking; clear communication. Needless to say I am currently redesigning everything about Plan-B Studio! E-V-E-R-YTHING.

The more things change, the more things stay the same

This week we are very pleased that Billy Mawhinney, Executive Creative Director at BJL and D&AD exec member is sharing his thoughts on how things have changed in the industry....or how they haven't!

"I’ve just seen a great Poster" is not something you hear very often now, but I did. Last week.

 

It’s a black and white photograph of a young boy in a wheelchair.

The hand written headline above him reads,  "He’d love to walk away from this poster too." It raises awareness and money for muscular dystrophy in a very challenging, interactive, bold and wonderfully simple way.

 

It’s also about thirty years old. It was done by a really great art Director, at J Walter Thompson, called John Knight.

 

We all knew him as J F K because as an East End London boy, John would regularly break up words and sentences with an expletive.

 

It was just after I’d joined JWT as a trainee art director that I met John. His girlfriend was Lorraine Chase and she was always coming in to meet her “Johnny” in our Berkeley Square office. She too was very cockney and as beautiful as John was handsome. (No really. If you walked into a bar with John, every woman in the place looked at him.)

Terry Howard was a writer in the next door office and after hearing Rainey’s distinct voice coming from someone so gorgeous he wrote the famous Campari Ad: “Were you truly wafted here from paradise?” she was asked. “Nah, Luton airport” came the reply.

 

Terry was also writing sitcoms at the time with Mitch Walker. They were doing Hollywood movie trailers that were being researched to see which way the scripts should go.

 

Berkeley Square was like a big old club full of rich and varied creatives. Even Dylan Thomas’s grandson was working as a copywriter alongside David Jones, later Bowie, in The Post Room.

 

We had a home economics group that would create products for our clients.

 

Mr Kipling was born, bred and baked at number 40.

 

After Eight mints were a slim invention for Rowntree Macintosh as was its chunky counterpart, the Yorkie bar.

 

Our shop at the back, which was just like a corner shop selling everything you seemed to need, was the first shop in the UK to go decimal.

When JWT were pitching for the business of telling the country about decimalisation, they did the pitch in the shop where they had converted every price from pounds shillings and pence. Or, knowing JWT, from guineas.

 

We even had a reference library where Jeanette McDonald spent every Monday morning going through the weekend’s magazines to cut out photographic and any other reference for a quite unrivalled support system for art directors. At that time it was our Google which no art director could do without now.

 

But there we were at an old fashioned advertising agency doing social marketing, creating TV programming, working with Hollywood, creating new products, using McGoggle and, when I started, all during a recession that was so bad most people were on a four day week.

 

So I’m glad John Knight’s poster is as good today as it’s always been and that thankfully what we do hasn’t changed much.

 

As Bill Bernbach said when asked in the early 60s what advertising would be like in 20 years time, he replied, "It’ll be the same in 20 years as it was 20 years ago. People with the power to touch people will be successful and people without that power won’t."

 

Or as Eric Cantona might say to the seagulls "Plus ca change plus la meme chose."

 

 

Not thinking about it too much

To start the new year, we are very pleased to thank Cathy Olmedillas, Founder of Anorak Magazine for her insight into setting up a magazine. Anorak - the happy mag for kids - has gone from strength to strength and is a great publication which celebrates great illustration for children.
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Nowadays, we are increasingly being asked to talk about Anorak and its beginnings. It’s lovely and flattering but it’s also odd because we are not the kind who think about it too much. As a matter of fact, going through presentations or having conversations with people, we realized something: Anorak only exists because we didn’t think about it too much. It was not (and still isn’t) a project we’ve masterminded in every detail. We just got on with it and created it.

Without thinking about it too much.

To start with, we made a 8-page dummy and we showed it to a few distributors, but they all laughed at us. Not a great start. We knew from having worked at other (now defunct) publications that we had to be financially sound and efficient with our resources. So we decided not to give up on the day job but instead use the day job’s wage to pay for what we really loved doing. And let’s be honest, after the results we’d had from distributors, it seemed unlikely advertisers would just throw piles of cash at it. But then again, as soon as the word got out that a new kids magazine was being launched, things just started to happen.

When Tate Modern rang to place an order, we almost had a heart attack. And when Borders said they would carry it nationwide, we knew then that there was no point thinking about it too much. To top it all up, within that month we got a call from the lovely people at H&M’s press office who asked us to come up with a proposal for an Anorak-specific campaign. And that was it.

To agonise over Anorak’s raison d’etre became irrelevant. It was about having a go and seeing what would happen; if we passionately believed in it, it just had to be done. It felt like that the moment we decided on a launch date, everything just fell into place. And by becoming a reality it also became a catalyst.

Without thinking about it too much.

 Cathy Olmedillas

New Blood: Graduate festival moves to east London

New Blood will be undergoing radical transformation and moving to Shoreditch in east London next summer.

2009 New Blood Exhibition at Olympia. Photo Credit: Christine Donnier-Valentin

The exhibition element will take up one week of graduate show Free Range from 24-29 June. We'll fill the Truman Brewery with the best advertising and design courses from our University Network membership.  The exhibition will be complemented by a range of events and activities arranged in partnership with creative organisations and companies in the area.

 

Laura Woodroffe, Director of Education & Professional Development says “New Blood will centre around networking – a crucial skill for students to learn. Where better to learn that than in the middle of one of London’s creative hubs?  We’re going to take over Shoreditch and are calling on all our industry friends in the area to work with us to participate in creative ways.  We will run a series of industry events, along with workshops and training for students and tutors.  Additional content will be provided by our education partners Shellsuitzombie, who will run activities within the exhibition itself.”

Tamsin O'Hanlon, Free Range Director said “Free Range and D&AD New Blood are quite simply stronger by working together. Through this partnership we will be better able to support tomorrows' creative talent and their tutors.”

Chris Waite, the Course Leader at University College Falmouth says “New Blood has always been a motivating and inspiring occasion for our Graphic Design, Illustration and Advertising students."

"It’s a great opportunity for them to show off their talents to a genuinely influential audience.  The move of venue to Shoreditch – smack in the middle of London’s communications industry – promises not only a great show, but also a whole series of satellite workshop and training events, to be run in collaboration with the kind of organisations where our graduates aspire to work.  The potential for networking – students, employers, tutors, media – is without equal.  We’re looking forward to it immensely.”

“This is a prime opportunity for the industry,’ said Greg Quinton, D&AD Education Chairman and Creative Partner at The Partners.  “Not only will it be incredibly convenient for many to be able to simply drop in to the exhibition, the savvy within the industry should also be getting in touch with D&AD to organise events that get those graduates into their agencies and studios.  Agencies and graduates both learn so much about ’agency fit’ by simply sharing a bit of time in their own space/habitat/turf/caravan/etc.”