The Adelaide* magazine, page 44, November, 2013, with Katie Spain

The Adelaide* magazine, page 44, November, 2013, with Katie Spain

High on a Hill, page 2 of text

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The Adelaide* magazine, page 43, November, 2013, with Katie Spain

The Adelaide* magazine, November, 2013, with Katie Spain

High on a Hill: The new Magill Estate space has been a long time coming – now it’s time to indulge

Bike SA magazine, November issue, 2013

Bike SA magazine, November issue, 2013

High Rollers, Author – Heath Cambpell

Andrew Berno makes things

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Andrew Berno is a designer, CAD monkey, metal worker, and the Director General of the Beard Elite. He has taken time out from his high flying job as an industrial designer with WILDDESIGN in Germany to slum it with RESCRUB and share his learnings. Andrew is handsome and hardworking, and enjoys making wine, grinding metal things into dust, singing sea shanties, and extreme barbie jeep racing. Behold his words as he delivered them unto us.

PREPARATION/EDUCATION

Is planning your career important?

G’day Heath (HI!), cheers for asking for me to partake in Rescrub, this is awesome. (Thanks Berno!) So, planning your career; as for a typical plan – well as the saying goes, the best laid plans of mice and men oft go astray. But I would heartily say it’s important to have a sense of direction of where you want to head, and know what you need to do to head in that direction, but also to be open enough for alternatives/opportunities, especially at the start of your career.

As for an example with myself – my aim was to get overseas for experience and now I’m over in Germany!

What did you do as a student, outside of course work, to prepare yourself for industry; and do you have any advice for current students?

Before I studied Industrial Design, I grew up in my father’s fabrication business and from a teenager, worked part-time in the business. This gave me a really good base-knowledge of how things are made, of different materials and processes, and getting my hands dirty.

Later on I gained experience with a repetitive machining company and I was more involved with working with clients, mass production of turned parts, assembling components, and also got basic CNC programming/operating knowledge. So this experience has giving me a really good understanding of ‘Design for Manufacturing’ and is well suited for an Industrial Design career.

As with another Rescrub interviewee, Tomek, who also at times shared that same experience with me in my father’s workshop and I believe this is what gave him that passion for being in the workshop making things, which helped lead to a job he loves. So I think it’s important for current students to be involved in situations which they can draw upon for when they are looking for a job. If they want to do furniture, work in a timber yard, furniture making company, furniture reseller or take some kind of small courses outside uni. Or Fashion, work as a seamstress etc, Industrial Design, manufacturing business, take drawing courses. Something that has good relevance for what you want to do after graduation.

What was your first design job, and how did you land it?

The first real professional job I got was with a local Adelaide manufacturer – I was recommended to them by another of your rescrub stars, Mark, as it was one of his clients. They were looking for someone short-term that could work as CAD modeller. This was perfect for me because I was already set to head over to Germany this year and it improved my CAD skills. Funny thing was, my boss didn’t even know what Industrial Design was, but about 2 months in, the marketing lady found out what I could do and gave me an opportunity in designing their new remote control, which actually should be coming out soon.

After this I was involved with exhibition design, graphics, branding and product documentation before finishing up and heading over here to Germany for an internship with an Industrial Design consultancy which now just employed me until the end of my visa. (hooray for you!)

When you started your first design job, did you feel prepared, or overwhelmed (or a charming mixture of both)?

As I said previously, I wasn’t even employed as a designer, but during that remote control project I felt nervous, but I was confident I could handle it and I didn’t have time to worry because within two full days I had the core design direction, hand foam models made, CAD modelled up and presented to the directors who were over from interstate. But I do remember feeling excited about my first real design and should get that feeling when I see it in the hands of people in the future.

 

WORK

In the current creative climate, is it important to have a broad skillset?

I think I’m a real jack-of-all-trades kind of guy, and I do think you need to have a broad skill set, but as your career develops especially in design, you need to be highly proficient/knowledgeable in one area/skill set. This is what YOU can really bring to a team and/or design project and what will make you competitive.

Another major point is knowing what the demographics of your employment region are and the skill sets they draw upon or require – I think the university I attended pushes students skill sets/knowledge to what is most employable for them in the near future, not what they all hope to get from looking at design businesses on the internet, because realistically a majority will stay local due to many different reasons and be employed with local businesses.

What does a typical work-day look like for you?

Fortunately, the company I’m at in Germany is pretty relaxed; this is not the usual stereotype for Germans. I live in a flat with the other interns across from the company so we wander in after 9am and at the moment I’m on the main project and the DFM phase for the last 5 months so it’s straight to CAD and basically go until my project leader has left and I run out of tasks for the day. Usually I finish around 6 or 7pm, some days I’ll continue to 9pm if I have enough work to keep me going.

Do you have a set methodology when you work on projects?

I like to have good brief with the right amount of constraints, a broader perspective/knowledge of the desired outcome, good research or answers to questions I have before I begin designing – this tends to focus me on the problem to resolve however it generally doesn’t allows for more outside the box ideas which can be gold –

Do you carry a notebook, or voice recorder, or camera (actually, a phone can do all those things…) wherever you go?

Bahaha well I have a reputation with phones, and not a good one (dear readers – if there was a competition for losing phones in increasingly creative and complicated ways, Andrew Berno would be the champion of the world), so I can’t do all those things but even so, I don’t carry around with me anything other than my wallet and keys. I do have a small notebook that has my main ideas to work on but if I’m out and have an idea I got to get it on paper, or I’ll record it on a serviette.

Have you had any mentors along the way, and what effect did they have on you?

I haven’t had any such mentors but there are a number of people I look toward from different parts of my life with different experiences, and I seek their opinions on whatever I’m not 100% sure on, or need some feedback. It’s good to have some people you can go to to get some genuine, rational opinions and then make your decision based on all the information you have.

How important is it to be part of a supportive creative community? Would you suggest students immerse themselves in their local creative community?

I think it’s important to be part of that community, both for getting the creative juices flowing, seeing new amazing things that can spark an idea, and also having those connections that could work for you in the future. However, I also think you need to get away from the creative environment/community too, do a bit of hard work, get dirty, deal with other professionals, a kind of back-to-reality because sometimes the creative world you immerse yourself in can get a bit fluffy. (ha ha ha ha ha ha ha ha. You are awesome)

What are some of the most powerful/memorable lessons you learned on the job?

My quick 3 are:

  • When you can, or if it’s feasible, keep iterating – sometimes you do loops that prove your thinking, sometimes you get a jackpot idea
  • The obvious double-check – then check again
  • Especially after long projects, it’s that last 10% which really counts – it’s also mentally the toughest part and the part that can make something look unfinished or look really special.

Do you feel a responsibility to give back to your design community?

Most certainly! I have had others spend their own time to help me, show me things, give feedback, be a mentor etc. You would be a selfish wanker if you did not give back. Now I try helping with sharing knowledge I find, resources that could be helpful to others, and possible contacts I’ve made for jobs/internships that could help others.

In the future when I gain more experience and return back home to Adelaide, I look forward to be able to give back more and help those new ambitious designers to succeed.

 

STUFF

What do you do to unwind?

Friday night beers with my mates, winemaking and small road trip adventures.

What music are you listening to?

Bahaha at the moment I’m listening/streaming the ashes while I’m on the CAD at work but mostly it’s just mixes on soundcloud, and for a while there, the flight facilities decade mix got a hammering on the headphones.

Who are your favourite authors?

Haven’t got a favourite author as I never used to read much but my bible is Manufacturing Processes for Design Professionals by Rob Thompson and currently I’m reading Green Metropolis by David Owen, and a book on Brand Asset Management bahaha

Who/what inspires you?

My old man. If I could be half the man he was I’d be a bloody top bloke. Other than him, those people or professionals who have a real passion for what they do, and like to share it and help others.

Could you explain string theory in a single tweet?

My String Theory is the phenomenon when you have a bundle of string and you always manage to get a knot in it. As for string theory, I have no idea what you’re talking about mate.

Andrew Berno, you are a gem.

Tim Saunders

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Meet Tim Saunders. He is a graphic designer, lecturer,  facilitator, bike rider… and it appears he is indestructible. Tim has taken the time out from teaching design younglings and creating the Wildspace graphic design bridging course – helping students and grads make the transition into industry – to answer some questions. Nice one, Tim! Behold his wisdom.

PREPARATION/EDUCATION

Is planning your career important?

Yeah, it’s pivotal.

What did you do as a student, outside of course work, to prepare yourself for industry; and do you have any advice for current students?

Have an idea of a goal, but expect that it may change. Be adaptive, but have a goal.

What was your first design job, and how did you land it?

My first design job was at a PR company. I said I could use the programs they were using at the time (which was not entirely true) — I had to learn real fast! (The good Mr Saunders does not condone stretching the truth when applying for work)

When you started your first design job, did you feel prepared, or overwhelmed (or a charming mixture of both)?

I was semi-prepared. Macs were just starting to take over and I no idea about them, but I found out!

In the current creative climate, is it important to have a broad skillset?

In Australia it is vital to be multi—skilled; our industry is too small to specialise

As an employer, what do you look for in a grad?

A strong passion for something outside of the creative, ie cycling, team play — soccer etc. as it shows a depth to the person and to their abilities.

WORK

What does a typical work-day look like for you?

Emails. Sorting shit, and getting sorted. Great coffee – no excuses for bad coffee.

Do you have a set methodology when you work on projects?

Look, research, think, act.

Do you carry a notebook, or voice recorder, or camera (actually, a phone can do all those things…) wherever you go?

All the time.

Have you had any mentors along the way, and what effect did they have on you?

Yes Lyndon Whaite, he showed respect to all forms of art and design.

Has there been a point when you’ve taken a risk to advance professionally, and is taking risks essential to success?

Certainly! I went solo when I left State Theatre in ’95 and never looked back!

How does your environment impact your creativity?

Totally – you may walk over a step 99 times and see it on the next time through.

How important is it to be part of a supportive creative community? Would you suggest students immerse themselves in their local creative community?

Yeah it gives you the confidence to take risks if you can run an idea by someone other than yourself.

What are some of the most powerful/memorable lessons you learned on the job?

Get to work early, work hard, then celebrate.

Do you feel a responsibility to give back to your design community?

Totally – through teaching networks and associations

STUFF

What do you do to unwind?

Ride it like it was stolen. (He means bikes)

What music are you listening to?

Currently blur (YES!!) + New Order again

Could you explain string theory in a tweet?

Don’t care to!

Who are your favourite authors?

James Ellroy

Who/what inspires you?

Tom Borgas

THANKS!

Lia Weston – Author

The Fortunes of Ruby White cover

Lia co-owns Adelaide’s greatest bike store and is a published author. Pretty impressive, right? Lia has taken time out from creating worlds (not the god type of world-creation, more the literary type – although I don’t want to place any limitations on her, she is quite clever) to discuss some of things she does to keep the words (and the book deals) flowing.

Anyway, here she is!

INSPIRATIONS

Can you recall any situations or environments or objects or animals or people which/who have inspired you to create?

People are my best inspiration. People are bizarre, hilarious, infuriating and fascinating; they are the foundation of fiction. I tend to be more of a character-driven writer; I like to see what’s going to happen to certain people in a certain situation rather than a ‘what would happen if we unleashed a pack of virus-riddled kittens into the population’ kind of thing. Though now, of course, I’m wondering if I can use that.

Do you have a set methodology for coming up with new ideas, or do you just happen upon them during the course of your day?

I wish I did have a set methodology, as that would make scheduling my time a lot easier! I try to cultivate new ideas through freewriting – just picking words or characters and then scribbling out two pages of random associated thoughts. This implies, however, that I’m organised, which I’m not. If I’m honest, most ideas tend to occur to me when I’m walking through the parklands with my dog.

What do you do (or where you go) to open your mind?

In light of the previous answer, I guess it’s the parklands. When I actually begin writing, however, I use a method of sense absorption to kick off—you take a moment to pause and absorb your environment, and then describe it with all your senses—what can you see, smell, hear, touch and taste?  This helps awaken the observational eye, which is critical for good writing.  I’m also determined to get back into meditation, but it hasn’t happened yet.  As a result, I try to take small moments during the day to just stop and be, for want of a better term.

Do you carry a notebook, or voice recorder, or camera (actually, a phone can do all those things…) wherever you go?

I’m so forgetful that, no, though I know it’s good practice. I do try to immediately note down any potentially good idea or dialogue on my phone, however; if I don’t, guaranteed I won’t remember it in five minutes.

WORK

How much sleep is enough sleep?

It purely depends on the person. I’ve found, to my surprise, that I function very well on six hours. My husband, however, would probably murder someone. My only never-fail tip, however, is to not hit the snooze button.  If you wake up naturally, GET UP.  (Yes, it needs all-caps.  Forgive me.)  If you snooze, you will always feel like the walking dead for the first few hours.

Do you embrace new technologies in your work?

I try to be open to all new technologies, but I’m afraid I suffer from the fear that if I take the time to learn how to use them properly, it takes away from time I could be writing. As a consequence, I use an excellent program called Scrivener, but only know how to operate about 10% of it. If I actually went through all 290 pages of the manual, it would probably make my life easier but instead I bumble on like the white rabbit. “There’s no time! No time!”

Have you won any awards? – Are awards ceremonies fun?

No. *cries*

What are some of the most powerful/memorable lessons you have learned on the job?

In fiction writing, I’ve learnt that even the most accomplished and brilliant writers have a constant fear of rejection and that they’ll never be able to sustain a career. Many authors I admire confess that they’re still convinced they will be unearthed as frauds any day now. On one hand, I find this very comforting.  On the other, I find it worrying as I’d hoped to be able to control the ‘this is all awful, awful, awful, why am I wasting my time’ side of myself somehow.  Perhaps it can’t be done.  Crap.

In editing, I’ve learnt that it’s important to charge a sliding scale for work based on the expected turn-around time.  This will weed out lazy and disorganised clients very, very quickly.  I’ve also learnt that people who write in any art-related field have very delicate egos (try telling an exhibition curator that one of their sentences makes no sense grammatically or literally; you may end up bleeding), and that even though someone may have just told you that you’re one of the best editors they’ve worked with, it’s best not to then confess that you don’t have any formal qualifications.

EDUCATION

Do you learn best by doing, seeing, reading, hearing, or a mixture of some, or all of them?

By seeing and doing. I had huge trouble understanding how our (unfortunately complicated) accounts worked together when someone was telling me about it. Finally, in frustration they literally drew me a picture, and then everything clicked. Doing also helps, and is better than reading (oh, the irony); I need to feel things practically. Hearing is the worst for me; if someone on the phone starts spelling out their name, I panic. I haaaaaate it.

 

If you could go back in time (forget all the other super-amazing things you could do, like meet Marie Curie, or Jules Vern, or be witness to the building of the pyramids by aliens), would you approach your study differently?

I’m tempted to say ‘yes’, because then I wouldn’t have had to torture myself through several years of statistics in Psychology, or work in an RSL club in between schlepping my very crappy portfolio around advertising agencies in Sydney, but those experiences gave rise to who I am and provided quite a bit of material for the fiction I write. I also sometimes regret not doing English or Creative Writing at university, but I’ve heard from others that the former in particular pretty much killed their love of literature, so perhaps I dodged a bullet there. So I guess my answer is, “no, kind of.” Helpful, huh?

WHATNOT

What was the greatest animated series ever made?

The Simpsons, though everything after season eight I find unwatchable. Later episodes make me angry. It’s testament to how much I love the earlier stuff, I guess. Kudos, writers. Kudos.

 

What are you listening to?

At the moment, it’s music that I can write to, so: This Will Destroy You, Thomas Newman soundtracks, Abbe May, Cheb I Sabbah, Massive Attack, Washed Out, Radiohead.

What are you reading?

Butterfly (yet again, Sonya Hartnett), Jasper Jones (Craig Silvey), Figurehead (Patrick Allington), The Great Gatsby (curse you, book club!) and (sigh) the Scrivener manual.

 

If you had the space, would you keep a unicorn as a pet/housemate?

No, because I don’t really trust horses or horse-like animals. Sure, they’re fun to ride, but I can never shake the feeling that they’re barely tolerating us.

And, finally – is there anything I missed out, something which you feel is important in the search for artistic excellence?

It’s such a frickin’ cliché, but it’s important to be yourself. Your odd, insecure, prat-falling, bumbling self. If you don’t have authenticity, what’s the point? I’ll also add that it’s great to be confident in your abilities, but don’t be so confident that you feel you can’t learn anything. Some of my most important and meaningful artistic lessons have come out of the strangest areas. There’s something to be learnt in nearly every situation and from every person. Even if you don’t like them. (Actually, sometimes especially if you don’t like them.)

Thanks a bunch, Lia Weston!

CURVY – Athena Nochua, in Elitismstlye, June 18 2013 – Heath Campbell

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The phenomenon that is CURVY began in Sydney, Australia in 2003 as an annual book and exhibition series championing the work of some of the most exiting female graphic artists and illustrators on earth.

CURVY collaborates with women from across the globe – from the art and design hotspots of Paris, London, NYC, Sydney, and Tokyo to the lesser-known but equally powerful centres for creativity in countries such as Mexico, Moscow, Norway, Malta, Israel, and Indonesia.

In each annual publication CURVY shines a spotlight on 100 established and emerging female artists, building on the power and momentum of the previous years to create a wave of creative and social energy, and celebrates some of the most creative women in the world.

Now it’s Adelaide’s turn!

Go to full article…