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Issue 24
Congratulations to all of this year's CEP Student Award winners!
CEP Student Awards 2015
Part 2: Chelsea College of Arts, Plymouth & Sheffield Hallam Universities
The Society’s Course Endorsement Programme (CEP) was developed to differentiate and support those courses which clearly prepare students to confidently embark on a career in design and to practice to the highest professional standards.

The CEP Student Prize is awarded annually to a final year student on each of the design courses within the Course Endorsement Programme. The award is presented to a student who has demonstrated exceptional work throughout their course. With an extremely high standard demonstrated by all the students on Accredited Courses, choosing just one winner can be a challenge. The Awards are presented at the opening night of the Degree Show by esteemed members of the Society.
This year the Society presented 14 Student Awards across the UK to the Accredited and Recognised courses. In last month’s issue of TheDesigner we revealed the winners from Nottingham Trent and Derby Universities. In this issue we are pleased to announce the final prize winners from Chelsea College of Arts, Plymouth and Sheffield Hallam Universities.

Winners of the 2015 CSD Student Awards
Part 2
Chelsea College of Arts

FdA Interior Design
The award was presented by David Callcott PCSD President of CSD
The winner was Nadezhda Son

“I always knew I would be an architect or an interior designer. At a young age I tried myself in arts school and really enjoyed it. A few years later I had an opportunity to study design basics in the USA and Italy; however I was still unsure  how to manage a project. It is only after spending 2 years at Chelsea College of Arts in London I feel confident about what I am doing. If before I had just the skills, now I have an understanding of the whole design process and can manage a project from start to finish. Obviously, I still have a long journey before me to explore my potential, self-development is what inspires me, I find the challenges which Chelsea College of Arts has put me through, have improved all of my skills, from communication and leadership to digital and 3D computer programmes.

If I could give some advice to future design students, I would say: work hard and push your boundaries further; find something you are particularly good at and enjoy and keep developing in that direction. Do not get upset when you see somebody's amazing work, which you think you do not have the same abilities, on the contrary, get inspired by it and be glad that you found something that you could improve in yourself.”

Above we can see Nadezhda's concept for ‘Google Office’ in 10 Finsbury Square building, London. The aim was to break through uniform floors and create a more dynamic, interactive and comfortable environment. She based her concept on the transition of outside curviness of the building into its interior. She created the voids that would connect all the floors with different activities; designed "moving walls", pieces of furniture that add changeable and interactive units to the space; and continuous ladder that bonds everything together.

Plymouth University

BA(Hons) 3D Design Product Designer
The award was presented by Oliver Blackwell MCSD, Industrial Designer
The winner was April Lander

“Being creative is a fundamentally uplifting experience for me, partly because I believe that the design process is very much like playing. My ethos is to value play and utilise it to aid me in my creative process. I believe play is the physical manifestation of creativity and can lead to new and engaging ideas. Throughout my design journey I have rediscovered that play is not something to be earned after hard work, it is part of process and should be celebrated. The ability to play and be creative is what inspired me to pursue the design field as I felt this would enable me to not only explore this ideology but to bring it into the physical realm to share with others. It was always a subject that baffled me, why do we devalue play so much once we reach adult life? Why throw out a process that enhances creativity, enables freedom of thinking and can potentially make us happier and more productive during the strenuous world of work.

My time at Plymouth University has helped me answer some of those questions and structure and focus this way of thinking by giving me the freedom to become a designer of my own making. The right balance of guidance and personal development is what aided me to become a more confident and playful designer that will hopefully propel me into a career where the idea of playing whilst working is encouraged and celebrated.  My advice to future design students is this:  experiment with all forms of process and media, don't be afraid to do things differently and don't aim to fit into a designer mould, make one yourself.”

For April's project ‘Playing with Design’ she created a peg board that utilises wool to create fun and interactive shelving. By weaving wool between the pegs you can make strong and colourful shelving to celebrate objects you wish to display. The focus of this project was to help users tap into their creativity by making them play with something as generic as a shelf.

Taking inspirations from a retro toy April's ‘Pin boxes’ are modular products that use the simplicity of pushing and pulling pins to encourage play and creativity. An object can also be pushed into the pins to create interactive storage that reflects the object on the other side. Their stackable nature can create a pillar or fun, interactivity and play.

Sheffield Hallam University

(Left to right: William Butterworth, Abbie Gostelow and Sophie Cooper)

BA(Hons) Graphic Design
The award was presented by Chris Ramsden FCSD, Industrial Designer, Honorary Treasurer and Trustee at CSD
The winner was Abbie Gostelow

“Graduating from the BA(Hons) Graphic Design course at SHU, I hope to further pursue my interest in typography, print and editorial design. I am also a passionate visual communications designer and I am always looking for new challenges.  I consider myself to be a Graphic Design problem solver and I bring this attitude to all of my work as I believe that design should influence opinions, change behaviours and solve problems. Growing up in Sheffield means that  I lived in a city full of interesting design, industrial past, as well as amazing architecture and scenery; my love for my hometown influences my design work.

If I had to choose my main attributes as a designer I would say: the quality of my ideas and concepts attention to detail and a high level of craft.”

The brief asked for the power of type to be used to create a new visual language for film advertising. Abbie’s response was to create a series of posters for the films: Sweeney Todd, Edward Scissorhands and Sleepy Hollow, which were  all directed by Tim Burton. Different tools were used to cut each poster referring to objects within the films. For example the Edwards Scissorhands’ poster was cut using scissors, the shredded paper was then scanned in to create the visuals.

‘Park Hill Postcards’ was a self-initiated brief to design a series of postcards for Sheffield, focusing on subverting the concept of postcards by photographing the darker more unattractive points of Sheffield, particularly Park Hill. The images highlight the angular man-made nature of this iconic brutalist building. The packaging highlights the contrast between the old and new parts of the building using colour which explains the use of an index.

BA(Hons) Fashion Design
The award was presented by Frank Peters FCSD, Chief Executive of CSD
The winner was Sophie Cooper

“I am very proud to have received the CSD student award for the Fashion Design course at Sheffield Hallam University. Fashion Design has always been an interest of mine from an early age, watching endless episodes of the American series of ‘Project Runway’ inspired me to want to create my own designs and it was inevitable that my hobby would lead to further study in this area and ultimately a successful career.
Having completed an integrated master’s degree in Fashion Design over 4 years at Sheffield Hallam University, I have developed many skills that will help me in my future career; some of these include:  experimental pattern cutting, high quality garment construction, keeping up to date with present and future trends and developing technical skills on Photoshop, Illustrator and InDesign which has allowed me to produce quirky, fresh and interesting design ideas that are unique to me. Studying  Fashion Design allowed me to attach a theory to my work in order to help solve a contemporary design issue that developed a unique outcome.

Upon finishing my course at Sheffield Hallam I have been lucky enough to secure a job as a junior/assistant designer with a company that supply to leading high street retailers and online e-tailers. My future goal is to continue to expand my skillset in order to eventually obtain a senior designer position. My advice to new design students is to work hard, enjoy what you do and make the most of the resources and help around you. Do as many internships as you can!”

In response to a homogenised fashion landscape and the over consumption of short-lived trends, ‘The Ever-changing Canvas’ modular clothing collection aims to promote individuality through long-lasting, experimental design. Inspired by frenetic, contemporary, abstract artwork, zip-off interchangeable modules of block colour and print produce never-ending stylistic combinations and a creative canvas of unique clothing for the modern young woman. 

BA(Hons) Interior Design
The award was presented by Richard Thorpe MCSD, Senior Designer, Interior Design at CPMG Architects
The winner was Amber Addison

“I see myself as a very creative person and I have always been interested in design, especially interior design. Since completing a placement in London and my final year at University I have become confident in my own skills and have developed my own design style. I have been able to create a portfolio of work that demonstrates my abilities and hard work throughout my life at University. I have been freelancing for commercial design companies since November 2014 and in the future I hope to specialise in restaurant, bar and retail design within an established business.

I developed a unique visual style early on within my degree which I would recommend to new designers as a way to stand out for future employment. I also think it is really important to enjoy what you are doing and to have a deep interest in the area of work that you go into, pick something you love and have fun with it.”

‘The Rabbit Hole is an experiential Restaurant, Bar and Urban Park set within a derelict building in Sheffield. This is the Main room, it has a full height living plant wall, scaffolding stair case and hidden doors.

The bar gives an industrial and dark feel to the space with the original graffiti being retained. Reinforced bars create partition walls, furniture and staircases. 

BA(Hons) Product Design
The award was presented by Andy Bell MCSD, Industrial Designer at Renfrew Group International
The winner was William Butterworth

“My passion for design has developed in multiple areas as I have tried to explore different aspects of design to keep my approach fresh, whilst challenging norms in an attempt to improve products and the experience of the user. My goals after graduation are to hone my skills through industry experience, in order to develop into a better designer. 

My time at University has allowed me to develop an understanding of the history of design as well as the necessary skills which are required to reach a highly defined project outcome. I always strive to do better and develop new skills, working to as high standard as possible has always been a target of my mine, whatever the project, it brings me great satisfaction to know that the end product is as refined as possible.”

‘Plus’ is an innovative 2-in-1 steam cleaner for the home, designed for comfort and usability. The reticulated head and sturdy frame makes floors quick and easy to clean, whilst steam is generated in a fully integrated but easily removable handheld unit that is perfect for cleaning a wide range of surfaces around the home.

CSD Partners
Creator unknown could be the result for ‘000’s of creative works posted online every day that carry no form of identifier 
Creator Unknown...
Imagine if no artist had ever signed their canvass. What would the art market look like today, how would works be attributed; valued, bought and sold?  Unlike other Creative types, Artists do identify their work and have access to well organised and established routes to revenues via direct sales to private buyers, artists’ agents, galleries, auction houses and Collection Societies.
Artists income improved following the introduction into law of The Artists Resale Right’ entitling an artist to share in the proceeds of re-sales of their work. Like photographers, artists retain the copyright and earn an income from both the re-sale of the original work and in any prints or merchandise spin-outs bearing a copy of the image.
Due to the professional market infrastructure artists do earn an income from their creations which supports the original purpose of the introduction of copyright back in 1706 (Statute of Anne). Authors also have an infrastructure in place and their works are easily identifiable by author name and ISBN number attributed to them by their publishers. However, across a myriad of other creative sectors an abundance of unattributed creative works are regularly posted, promoted and shared on the internet and social media platforms.
Creators across the globe upload their imagery, animations, designs, illustrations, photographic images, infographics and so forth without incorporating any form of identifier - such as ISBN numbers (publishing); a Creative Barcode IP tag with live link to Creators Meta Data and usage terms (all types of Creative Works); or at a very minimum the Creators own name and web address.
When the owner’s creative assets remain on their website a degree of control over attribution and permissions is maintained.
Once divorced from the Creators website, swept up by search engines and returned in image search results without embedded or visible Meta Data, it leaves internet users unsure of who’s the work belongs to or whether it is free to use, requires permission, a license and/or payment.

The majority of internet users have little understanding of copyright and usage permissions. There is a growing general belief that anything that can be digitised and uploaded to the internet is free to access; free to view and free to use without permission or payment. If measures are not put in place that balance the expectation of ‘fast access and free use’ it will damage the Creators ability to earn an income from their creative (intellectual) property and increase risks to creative & cultural heritage, arising from a work labelled as 'orphan work' in other words ‘creator unknown’.
Social media platforms and image search engines are doing very little to assist internet users to understand that works returned in search results does not mean the owners’ permission to use the work is not required.
Orphan Works

Changes to EU copyright law is pertinent to the owners of creative assets due to recent changes that now only require an individual or organisation to undertake reasonable due-diligence to identify the owner and request permission to use. If their search does not lead to the owner they would be at liberty to use the work without obtaining permission. The owner would find it difficult to pursue copyright breach and retrospectively claim payment.
An orphan work remains protected under copyright but if the creator or rights holders has taken no measures to place an identifier in their work and thereby reduces the ability to be identified and contacted, they are putting their own work and remuneration at risk.
The introduction of exceptions to copyright is just the beginning such as, the recent EU exceptions for private copying, pastiche and parody. Further changes are likely to enable cultural and heritage organisations such as museums and libraries to digitise collections and commercialise orphan works, without requiring the permission of the absent rights-holder.
The UK and Ireland are embarking on establishing central data bases of orphan works to be accessed online and a license obtained to use the work in return for a commercial fee.
If the rights holder emerges and identifies themselves to the registry they can claim their work, remove the orphan status and they may be entitled to a fair compensation from payments received for its use. However the rights holder will have no recourse over the level of payment charged nor be entitled to retrospectively withdraw licenses already issued under orphan works status.

But cultural and heritage organisations do not pose a significant threat to Creators, the big threat is the social media platforms and search engines. Imagine if Google and its brands such as Facebook and Instagram put their user terms and conditions into commercial action.
‘All content uploaded by user’s grants a worldwide royalty free license to [the platform] authorising their use of content in any manner they choose, including commercial’.
You Tube purchased by Google in 2006 for $1.65bn, is gearing up to launch their ‘paid subscription service’. It recently communicated its intentions to Creators of popular channels, that it will offer advertising-free, videos along with a service that entitles the paid subscribers to store videos offline on their mobile devices for around $10 per month.

You Tube intends to share subscription revenues with Creators which is arguably half decent of them. However, You Tube retain 45% of the revenue and the remaining 55% is pooled. The % revenue a Creator makes from the 55% will be determined by the length of time viewers spend watching their channel. Therefore it will favour the larger players over the niche, innovative or start-up channels.
Creators who do not wish to participate in the behind the pay-wall, ad-free video service, will see their videos set to private-view status and hence further reduce their visibility and opportunity to earn revenues from their Creations containing embedded adverts. And surely this move runs contrary to Googles’ utilitarian claim that access to knowledge and information should be free and open to all?
Some may recall the media storm that erupted in 2012 when immediately following Facebooks’ purchase of Instagram it announced it had the perpetual right to sell users’ photographs without payment or notification. An apology swiftly followed and the offending remarks were removed from Facebooks upload policy.  It illustrates the risks to Creators who upload original creative work to platforms which state in their terms and conditions that owners, by the act of uploading, grant an irrevocable worldwide unremunerated license to the platform to use materials in any manner they see fit, including advertising and other income generating activities.

Creators can opt to join a Collection Society should one exists for their sub-sector of the creative industries. A recent EU announcement of Extended Copyright Licensing regulations has formally given authority (under strict guidelines) to Collection Societies to license and collect revenues for works on behalf of members and ‘non-members’. In other words, with a mandate from the sector they represent, Creators’ works can be licensed by the Collection Society beyond their current remit, on whatever terms they negotiate.
If a significant percentage of the sector mandate their Collection Society to enter into an Extended Copyright License, non-members works could also be licensed. The options for Creators are narrowing as platforms fight for creative content, without incurring license fees and commercially exploit it whilst retaining the lion’s share of the revenues. Leaving the entire content community to disproportionately share the remaining revenue determined by the dominate platforms and on terms they dictate. 
Creators can gain some control if they at least identify their copyright works using any form of identifier whether a Creative Barcode IP Tag URL embedded in works leading directly to Creators details, source credits, usage terms and so forth or even just their own name, Country and web address. At a minimum an identifier ensures the work does not become labelled an Orphan Work.   
Without including an identifier the owner of a work makes it unnecessarily difficult for anyone seeking to locate them and ask for permission to use, paid or otherwise. With a visible identifier / name of Creator, users who do apply a source credit, are most likely to cite the name of the platform / publisher the item was discovered on, such as a design Blog, Google or even just ‘the internet’.
Additionally, lack of identifiers and inaccurate source credits will cause problems not only for the Creators but also for the accuracy of creative, cultural and social history. Consumer Groups and Platforms owners are pushing for weaker and weaker copyright laws and in doing so reduce the opportunity for Creators to earn a living from their time and talents vested in their creations.
As the owners of works, Creators do hold a seat of power and their own talent cannot be taken away from them but it is becoming more difficult to earn commercial payments for use of their creations. An opportunity exists to build a direct to user licensing platform that collects micro-payments from asset users for direct distribution to the Creators.    

In the meantime, Creators and those that represent them should be uniting and demanding that Platform upload policies be amended to recognise the owners IP Rights in all works that carry an identifier. Without amendment the risk to the creative industries could be considerable.
The Creative Barcode ‘Creative Industries Licensing Opportunity and Risk’ Report can be downloaded here

Special offer for CSD members: The Society has partnered with Creative Barcode - CSD members can purchase  Creative Barcode IP Protection at a 20% discount (saving £25.00) using the promotional code which can be found in the members’ area of the CSD website. (Offer is valid until 15.10.15)
CSD Archives
Image: Stan (right) chatting with Ken Hollick, a Fellow of the Society, London, c. 1955
Stan Coates MCSD
(1927-2008) Family bequeaths Stan’s archive to the Society
Stan’s wife Diana and sons, Gavin and Martin, are delighted that Stan's portfolio has found a fitting home at the Chartered Society of Designers' archive.

Stan was born into a coalmining family just before the great depression, in Seaham Harbour, County Durham, a small mining town and coal port on the North East coast. Following what might politely be called a rudimentary state education at Deneside Primary School and Seaham Intermediate School, he started work at 14 in a series of dead-end jobs including:  grocer's errand boy, in a local brick factory, and at furniture stores in Sunderland. After volunteering for the Royal Navy at 17, in the summer of 1944, he was called for training that November and in 1945 went on to serve in an assault Tank Landing Ship with the South East Asia Command.
The Japanese surrender saved Stan from making a landing assault on the coast of Malay and instead he was involved in mopping-up operations around Singapore, Siam (now Thailand) and the then Dutch East Indies (now Indonesia) where he was confronted with the gruesome legacy of the Japanese occupation including witnessing the skeletal POW survivors of the Burma Railway being carried on to hospital ships at Changi in Singapore. He also spoke of the terrible poverty and pre-independence unrest in India which he witnessed while on shore leave in Calcutta, as well as the breath taking views of the Himalayas from Darjeeling. What he saw during and after the war clearly made a lasting impression. His last three months’ of service were spent in the aircraft carrier H.M.S. Theseus and he was demobbed in December 1946.
In 1947, he applied for an Ex-service Government Rehabilitation Grant, successfully completing a 2 year full-time concentrated vocational course in Commercial Art at Sunderland College of Arts and Crafts. He took up his first post as designer and artist with Newcastle-upon-Tyne printer and advertising agency Doig Brothers Ltd in March 1949 and worked in advertising in Newcastle-upon-Tyne till 1953.
In 1953 Stan headed for London, the only place where a career in advertising could realistically be pursued further. He worked in Fleet Street advertising agencies and later with leading west-end agencies including Coleman Prentice and Varley (CPV), then up to Group Art Director level at Dorland Advertising Limited.
Stan was one of a generation from a working-class background who benefited from the post war education grants and were able to escape grim post-war industrial backgrounds and launch their careers in a still bomb-damaged but optimistic and creative 1950's London, prescient of the social seismic shifts of the 1960's. However this was still an environment where any regional accent was a social and professional liability. Stan quickly adapted to 'Received Pronunciation', thanks largely to the BBC! 

Peers and colleagues in the advertising industry from this period included Fellows of the Society such as: F.H.K. Henrion of CPV, John McCann, Denis Taylor, Lindsey Gutteridge, Alan Corbie and Rod Allen.
Following his marriage to Diana (née Scott) in 1955, Stan embarked on his freelance design career in 1959, then under the name C & G Graphics in association with Jan Gas from around 1961. It was at this time he submitted work to the selection committee of the Society of Industrial Artists and Designers. He was elected member in April 1960 in the category of Illustration, later extended to Typography and Graphic Design in 1967.
Major clients included Shell, British Titan Products, General and Municipal Workers Union, Associated Dairies (ASDA), and Simons & Co International fruit importers.

Stan worked from a series of studios in the West End and later at home in Dulwich in South London. Both his sons Gavin born in '57 and Martin in '62 have fond memories of saying goodnight to Dad when he was working at the drawing board, savoring the heady cocktail of French cigarettes, Cow Gum, Ondia rubber and Magic Markers!
In November 1966 Stan took up a part-time visiting Graphic Design lecturer's post at Sutton School of Art for 2 days per week. The financial situation surrounding the 1967 devaluation of the pound exacted a heavy toll on many businesses and Stan's freelance work suffered. For 6 years from October 1970 he was part-time visiting lecturer at Camberwell School of Arts and Crafts, teaching degree students.

Stan was a fluent French speaker thanks largely to his former colleague Jan Gas, and in 1970 he took up an evening linguist job with Post Office Telephones where he worked till 1986.
After retiring to Norfolk he taught part-time French conversation at the Norfolk Adult Education Service and at the European Division Language Unit of the Norwich Union Insurance Group.

Stan passed away in 2008. His wife Diana and sons Gavin and Martin are delighted that Stan's portfolio has found a fitting home at the Chartered Society of Designers' archive.
"The artworks have an originality and vitality of their own while at the same time being representative of that period in history between the late fifties and early seventies. None of us could bear to throw away this body of work which is such an expression of Stan's talent and hard work. Rather than let it lie forgotten in the attic, we really want to see it reside where it is appreciated and may serve as a resource for anyone interested in the history of graphic design in this country", says Gavin Coates MCSD.

‘It is through the generosity of members’ families such as Mrs Coates and sons that the Society is able to maintain its impressive archive of work in order to stimulate design interest amongst younger designers and provide invaluable material for design research. I would urge anyone with any material in their attic and wishing to free shelf space to contact the Societysays CSD President David Callcott PCSD
Q3 Design Business Survey
On behalf of the design community, the Society carries out regular quarterly surveys to ascertain changes and trends in design business conditions. The surveys collect data from design businesses across a range of key indicators including anticipated growth, staffing levels, recruitment, turnover and business confidence.

As well as informing the design community, responses and data will be used to compile our regular design sector report to the Bank of England as well as informing various government organisations.

All responses remain confidential and in keeping with survey best practice. You can help to ensure the survey reflects your views by taking a few minutes to complete is at the link below. You can find the results of previous surveys on the CSD blog.
"Someone once told me that the creative industry is like a shark, unless it keeps swimming forward it dies, this has never been more true than now.”
Peter Karn MCSD
Experiential Design
Peter Karn MCSD is a professional experiential designer with more than 13 years of experience working with some of the world’s top creatives and international clients. As the current Creative Director at MET Studio in London, Peter has led many of the company’s ground-breaking and innovative design concepts from inception to completion, maintaining a hands-on role in design projects.
“I think, like most designers, I didn’t choose my career, it chose me. I always knew I wanted to work in the creative industry in some form and 3D design seemed a good fit. Having studied fine art, then industrial design and finally spatial design, I liked the idea of creating spaces that people could inhabit and interact with. There was a natural progression from here into the exhibition and experiential sector and the work I am currently doing at MET Studio.”

With more than a decade worth of experience in the UK design industry, Peter told TheDesigner about the benefits of working in such a creative hub.

“I find that there is a great spirit of collaboration here in the UK and in my experience collaboration achieves the best results in experiential design projects. Creatives in this country are amongst the best and brightest in the world and are always innovating and pushing the boundaries to help move the industry forward. Working with clients in the UK can be a mixed bag as some of the old institutions and museums do have a set formula that is tried and tested and this can be challenging or even stifling for designers as they are forced to work to a set method. Other clients are flexible, open minded and courageous in their approach and put faith in their designers. Because our industry is so diverse it is normally about finding the right client/designer relationship, not all clients are right for all designers and good relationships are the key to creating successful projects.”

Recently, Peter has led a series of award winning design solutions, including the design and creation of installations for the Institution of Engineering and Technology in Savoy Place, and ’War Horse’, a temporary exhibition about the real story of horses in conflict. Peter is also currently developing a new biodiversity museum in Mexico which aims to set a new paradigm in museum interpretation experiences.

War Horse, no mans land

Below we can see some of the  projects he has taken part in -each has its own unique challenges.

IET, Savoy Place

The brief was to create a series of installations within the newly restored IET HQ that educated and inspired visitors about the history of the IET and the importance of the engineering profession in our everyday lives.

“Rather than simply create museum style exhibits, the solution was to create a series of iconic installations on each floor linking with the architectures use and history to create a narrative journey. The ground floor has an animated, interactive sculpture that showcases an iconic vision of the foundations of the IET brought to life as visitors walk underneath it. The next floor up contains the library:  a large, architectural showcase wall was created containing 100 engineering ideas that have changed the world as chosen by IET members, finally on the upper floor is a digital display consisting of a live, constantly changing infographic that shows everything happening within the IET globally at that precise second.”

EDF Pavillion, London 2012

The challenge of the EDF pavilion was to create an engaging and interactive space on the highly competitive site of the London 2012 Olympic Park.

“Visitors were there primarily to see the Games so we had to think of entertaining ways to communicate the content and entice visitors in. The solution was to create a large-scale, collaborative interactive space that transformed visitors physical movements into energy that powered a digital central core. The more visitors moved the more energy they generated to power the core. This not only communicated the message of the power of energy but also its links to sport and the 2012 Games.”

The UK has long been a powerhouse for design, but this has also brought with it a high level of competition for work, especially for those at the beginning stages of their careers. Peter gave TheDesigner an insight into the current climate and tips for young designers.

“The industry is extremely competitive at present, particularly for young designers. The best advice I can give is to learn as much as possible both in terms of practical skills such as rendering, CAD drawings etc., but also how to present yourself and your work. Like any craft, the more you practice, the better you get and design is a very complex and challenging craft that requires years of dedication, passion and commitment to master. Also it does not stop there, as designers we all need to constantly strive to better ourselves and to challenge new methods and ideas to evolve our industry. Someone once told me that the creative industry is like a shark, unless it keeps swimming forward it dies, this has never been more true than now.”

Peter is a more recent member of the Society, he explained to us some of the reasons he decided to join.

“As a designer it is all too easy to become too distracted by project work and client management and not find time to communicate with your peers. I liked the idea that becoming a member of the CSD will connect me more with the design community.”
CSD Offers & Events
Global Design Forum
12 - 19 September, Various locations London

The Global Design Forum is the Festival’s annual programme of talks and discussions exploring the role of design in a sustainable and prosperous future. Returning for a fourth year, the Forum will for 2015 focus on profiling the industry’s pivotal figures. Maverick thinkers, agitators and originators from around the world will be in conversation with leading journalists at the V&A every week-day from the 21st to 25th September.
London Design Festival
19 - 27 September, Various locations London
Over the Festival period there are hundreds of events taking place across London encompassing a wide range of design disciplines. Our many Partner organisations put on a dazzling variety of events that show the richness and depth of the design activity that takes place in the capital. To that we add a series of major events at the London Design Festival at the V&A, as well as our own high profile Landmark Projects in some of London's most iconic spaces.
© Chartered Society of Designers 2014
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The Chartered Society of Designers is a registered charity incorporated under a Royal Charter. Our remit is to promote best professional design practice and encourage the study of design. We support and assist designers at all stages of their career. The Society is a founding member of the Hong Kong Design Centre and holds Observer status of WIPO - The World Intellectual Property Organisation.

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