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He also busies himself on numerous thought-provoking self-initiated projects, which he says are imperative to the evolution of his practice. What was the idea behind establishing your studio?
What motivates your work? I first started Trampoline the day after I left university with two of my classmates. Like a lot of graduates, we thought we could change the world of design and we were very experimental. So we all got work in other studios so we could build up the experience needed and continued our Trampoline work after hours.
My two friends ended up leaving Trampoline to pursue other avenues of design, but I decided to keep the studio going and was then approached by UK design collective Tomato to work with them on the Federation Square project.
I worked on that project for nearly five years and once it was finished went back to Trampoline with a much more solid idea of the business of design, work ethic and design knowledge. In those early years I was very interested in the idea of chaos and the overlapping of forms to communicate an idea.
This idea was fine for my design theories but was hard to translate into a foundation for the business and client work. Has it been a conscious decision to focus on print in your work?
I think you naturally gravitate to what you like. I have always loved print and I like to design for print. I love the smell of the ink and playing with the endless possibilities of the printing process. In a world that is more and more dominated by screen culture, print is becoming a much more interesting and considered process.
This is why print will never die. Colour seems to be something you have strong understanding of in your design, can you share with us how this element, in your work, has evolved?
Colour is such an interesting topic. Colour is hard to pin down; it can affect you on an emotional and psychological level. I mentioned earlier about moving towards a minimalist aesthetic and philosophy and part of this process has been the interrogation of colour.
I use colour as a tool as a way of communicating an idea or emotion. I think artists like Mark Rothko or James Turrell use colour in the same way. I had some artwork on exhibition many years ago and the main response from people was how much they loved the colour. I found this really interesting.
Of course, colour is quite an abstract notion. Everyone will view and respond to colours in their own unique way and this brings about a sense of ambiguity. This interests me immensely especially when applied to visual communication.
What happens when graphic design is ambiguous? When I first went overseas and came back to Australia I realised just how bright, harsh and vivid our light is here. I have wondered if this has had an impact on the way I view and use colour. I often take a Pantone swatch book out on walks to play with colour combinations.
Have you ever tried to map all the colour combinations on a gum tree? How important are self-initiated projects to your practice how do they impact upon your client work?
Self-initiated projects are integral to my development as a designer and artist. I have always generated my own projects outside of my client work and it is essential — it allows me a space to develop my own thoughts and ideas, helps me grow, and exercise my design and thought muscles.
Hopefully the more I do this the more I improve. I think time for research and development is also really important. Self-initiated projects should always be fun.
Being unburdened from all the restrictions and considerations that often come with running a studio or designing for a client, allows me to experiment with ideas and discover new techniques.
I often use the outcome of these experiments in client work.Top Ads. Labels. Label Links. All the latest news, reviews, pictures and video on culture, the arts and entertainment.
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