Primary Research _ Design Manchester 13 Q+A

At the Design Manchester 13' Conference, I went to gain research and advice from noted designers and speakers on other projects I'm working on but in the Q+A session at the end, the talk abruptly turned to Globalisation, Immigration and it's effects on design style. This conversation was between designers such as Peter Saville, Kate Moross and Mark Farrow. It was super reassuring to basically hear what I've been trying to argue and debate but said much more articulately than I ever could, and also to realise I'm not just making all this up and others also share the same worries/excitement as me about the future of design in terms of style, particularly in Britain in their case.

Cue me writing frantically...

Peter Saville: 

Unique quality to UK design. London in particular. It's almost a crucible of multidisciplinary design. Most of the recognisable art of the UK is seen as "hip". There's no other singular place at this time that has the same mix. Paris, fashion. Milan, product. Germany, technology. 

Americans have the problem of being an enormous place. Designers think they can make lots of money if you come up with something dumb enough to please them all.

None are more effected than China. China wants what we have in terms of a design scene. BMW's, Mercedes etc. The time will come when they activate their own aesthetic.

Nat Hunter:

Armageddon!

PS:

More Asian students coming in to the UK to study will eventually mean more Asian tutors.

Kate Moross:

There was around 40% Asian students on my course. Not all of us were English, we were from all over. People bring their own backgrounds and cultures with them and slowly they merge with ours, what's seen as British suddenly over time becomes different. That's exciting!

PS:

I think Asian tutors in our school can be amazing. I think it's amazing when a man picks up a brush and does calligraphy. I think it's really interesting."

Colophon:

At one point in the future. The support for Chinese language in typeface production will have to increase. At the moment there's only about 100,000 Chinese typefaces for the Asian demographic.

Different cultures pose their own problems and unique traits. For example in some cultures the number 4 is unlucky. The things we find funny, they don't.

PS:

It gives you new ways to see the world. New ways to be inspired. I remember the first time I saw a Zen garden. It's interesting because over time English has become the default language across the world. What would a global font be like?

What would a font be like that works in Roman english? But has International sensibilities?

KM:

I've always aspired to have a "style". That's not in terms of how it looks, but in the way it works. For example, my approach to it. Regurgitation of design drives me crazy!

KM:

At work we aren't on Pinterest, Tumblr and so on looking at other design. Developing your own style and approach is becoming more and more difficult. Maintaining it is a daily challenge.

PS:

There's so many people doing things. There's so many avenues.

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PS:

The only thing that matters with a record cover is that the principal artist is happy.

PS:

Respect your client. Be understanding, even when you think their opinion is wrong. It's important to recognise where your work is going.