I’m interested in the trend of decoupling going on in the world of TV and film production companies. It’s the world that I used to live in so it’s close to my heart. Decoupling refers to the process of reducing costs to the client by outsourcing some of the work to freelancers or external services, rather than providing them in house. Decoupling offers big opportunities to everyone in our industry from company directors to freelancers and runners, if we can be brave enough to embrace it.

Increasingly, over the past 20 years, production companies have been expected to be flexible, pressurised to increase their skills, enabling them to deliver every possible service and format to their clients. This entails increasing staff to cover all areas of production, extending the capabilities of the company so they can also generate content for new and emerging mediums (web, mobile devices, games etc). The result is increased costs due to wages and also investment in bigger studio spaces.

The inevitable has happened, the work that was plentiful during these times of development has somewhat dried up. Production companies are competing even harder for the same jobs and clients find it harder to differentiate between companies as they all offer essentially the same services. Frustrated freelancers who weren’t finding the right amount of work (or satisfaction from it) started to create their own collectives which for a while injected some new life into the industry but they too have suffered from what I call the “jack of all trades syndrome”. Feeling that they must offer all services in-house, often stretching the capabilities of their employees and making the work suffer as a result.

Of course there are pros and cons with everything in life, this is no exception. On a positive note, decoupling could provide the opportunity to return to an industry where craft specialization matters. Instead of all production companies offering essentially the same services and competing for every scrap of work, each could become king of a particular area, passing work onto other companies when the work is more suited to their specific skill-field. A certain amount of this already goes on within Soho but I really believe this could be extended. It would improve the quality of work, employee morale and confidence within individual companies.

By letting some of their in house designers go and instead using freelancers, companies could open up to diversity, calling on different specialist skills appropriate for each job. It could create healthy competition between freelance creatives but also opportunity to create alliances and a network for swapping skills. In house designers can sometimes find it hard to maintain focus and motivation, so those more suited to a freelance lifestyle could benefit greatly here.

However, I worked as a freelancer in the industry for over 12 years so I know, only too well the challenges that can be faced. Remote working is not easy, you need to be motivated, focused, pro-active and willing to network. Ideas can be harder to develop on your own, it’s amazing how much creative development goes on during breaks around the coffee machine or meetings in the pub after work for production companies. Get rid of your in house team and you risk losing the teamwork that’s so valuable for the development of ideas and a sense of company identity. It can also be hard to find the right people at the right time to work on a production, they may be busy with another company.

On the whole though I see decoupling as an exciting prospect. It increases the unknown to the equation. Risk and uncertainty can be scary but embrace them and you often find new exciting challenges that, combined with a bit of initiative, can be the impetus to creativity in it’s truest sense. I’d love to hear the thoughts of other design professionals about the whole debate associated with decoupling, and also any stories about the challenges associated with remote working. What are these difficulties and how can we find ways of making it work?

I’m hoping to see a few of you at MacWorld 2010 where I’ll be speaking next year. I love San Fransisco so will be taking a little extra time out to hang out with my old friends, Amacker and Nina at the Lucky 13 bar on Castro. I also hope to catch up with all my other SF buddies, it’s always hard to fit everything in as there are so many people I love in the bay area!

If you’d like to attend you can click on the banner to the left to get a discount. Click on the Register button and then just use my personal priority code, ATAYLOR when you register.
Below are details about the talk I’ll be delivering;

Users Conference US964: Creative Video Workflow – From Storyboard to Completion – Feb. 12, 2010    3:00 PM – 4:15 PM

Angie Taylor will take you on a journey through a typical video project, showing the entire process including the creation of sketches, brainstorms and storyboards, audio production and clean up, editing, and producing the final project. Angie will also discuss how creative professionals can bring unity and clarity to complex creative projects. Aspects of automating time sheets, liaising with clients, auditing jobs and packaging final files for delivery will be explored within this session.

Anyone with personal or professional interests in creating digital videos and working with tools such as After Effects, Flash, Flow, CS4, Illustrator, Photoshop, Premiere Pro, Final Cut Pro and Soundbooth, will benefit from this session.

If you are interested in a streamlined way to look at the digital video process including tips and tricks using various software tools that will help maximize the creative input and minimize the project complexities, then this session is for you!

Angie’s Shuffle Track of the Day: San Fransisco – Scott McKenzie – listen free on Last FM

Angie Taylor in 1975 - a couple of years before she discovered punk

Growing up in Scotland in 1975, I had no idea what was going on the other side of the Atlantic. Little did I know that American women there were in the process of breaking ground so that people like me could find a voice and be accepted despite our inherent weirdness!

The first woman who I remember having the ideals and attitude that define the category of “punk” was the wonderful and truly original, Patti Smith. I’m sure Patti hates labels as much as I do. In fact the majority of folks labeled “punk” would kick and scream against having it safety-pinned to them. Sadly it’s human nature to feel the need to classify so, Patti, sorry for calling you a punk but please see it as the badge of honor it’s intended to be!

Patti was 29 in 1975, a veteran in punk terms, when she released Horses, her debut ground-breaking mix of rock and poetry. Lenny Kaye, the bands guitarist was also a writer. Lenny has been accused of instigating the use of “Punk Rock” to describe the raw, basic, gut-formed music that was desperately in need of a genre-defining moniker.

Horses is one of my top albums of all time. It fits into my elite category of “albums I never get tired of hearing” (of which there are only about 20). She continues to record and perform today and her recent albums are just as compelling as they ever were. She’s one of those rare individuals who, as well as writing her own fabulous originals (like title-track Horses) can take other artists songs and make them completely her own, take for example her cover of Them’s Gloria or, more recently, Nirvana’s, Smells Like Teen Spirit.

Patti also had a big influence on the “Punk look”, and on design. She was the first woman I remember seeing wearing a biker jacket, jeans and cowboy boots, just like the guys, and she looked great with her straggly hair and gaunt beauty. She lived with photographer, Robert Mapplethorpe who produced countless iconic images of Patti, including the album covers.

Patti was part of the legendary CBGBs and Max’s Kansas City scene in New York in the the early seventies. The scene was frequented by other great luminaries of the punk scene like Iggy Pop, Velvet Underground, Andy Warhol, The Ramones, Wayne (Jayne) County and of course Debbie Harry who started out as a waitress at the clubs and went on to form 80’s supergroup, Blondie. Debbie Harry brought sex to the Punk Rock movement, most female punks were considered unattractive by regular guys but Debbie Harry toyed with their affections by pouting at the camera, then following this with mocking, teasing gestures. Sadly, partly due to her cuteness, I think she never got the recognition she deserved as a top song-writer and performer. She and Blondie wrote some of the greatest punk love songs of all time including “Picture This“, “Denis“, “Hangin on the Telephone” and “In the Flesh“. After all, punks fall in love too y’know!

Nico became noticed as part of the Velvet Underground/ Andy Warhol scene at the Chelsea Hotel in New York. Her gorgeously, deep, flat vocals can be heard on Femme Fatale, I’ll be Your Mirror and All tomorrow’s Parties as well as others considered to be some of the best Velvet Underground tracks. Although the Velvets can’t really be considered punks their influence on the punk movement can’t be underestimated. People like Siouxsie Sioux had ground broken for them by the likes of Nico with her fusing of 60’s Berlin beatnik, Marlene Deitrich style deep vocals and a passion for the art of singing that can also be seen in the likes of Beth Gibbons from Portishead.

There were countless other acts that influenced me and others, and still continue to do so. Joan Jett was a rock chic of the highest order, as was the Pretenders, Chrissie Hynde. You just have to look at the amazing Alison Mossheart of The Kills, Discount, and more recently, Dead Weather to see their influence carried down the generations.

Without these ground-breaking women we wouldn’t have had PJ Harvey, Kate Bush, Annie Lennox, Madonna, Bjork who are mainstream pop icons of today. And we definitely wouldn’t have any of the women that formed the UK punk scene who we’re going to take a look at in the next installment. I hope you enjoy my little nostalgic trip down memory lane. Please listen to the music and please feel free to chime in if you think I’ve missed anyone!

After receiving good feedback for my blog on the influence of punk on design, I thought I’d keep on subject and write about the women of “punk” who inspired me personally, not just creatively, but in almost everything I do.

I went to see my old friends The Slits last week in Brighton Concorde 2. They were just as amazing as ever, I don’t know how Ari, Tessa and the others have the energy to get up there every night and do their thing, as well as travelling. I was lucky enough to work with The Slits a few years back, producing and directing a live shoot of their gig at the Royal Festival Hall, part of Morrisey’s Meltdown Festival.

It’s funny, I was slightly concerned that it may be a mistake to meet my old punk heroes after so many years (I originally met them briefly in 1979) but I needn’t have worried, they were just as inspiring, revolutionary and refreshing as they ever were. Still continuing to break new ground and fighting against a music establishment that still considers it a novelty when women can write and play innovative and accomplished music.

what I really loved about The Slits, growing up was their originality. They were unlike any of the other “punk” bands. They didn’t seem to want to conform to the usual punk stereotypes of girls in fishnets and bondage clothing, their dress sense and music was taken from a wide range of different styles and cultures, uniquely “Slitsy”.

Their lyrics were confrontational, witty and anti-establishment in the most personal and positive way, they sang songs about the lives that “Typical Girls” led. They looked (like me) as if they would have had trouble “fitting in” before the punk movement came along, I could identify with them. And on top of that, I loved their music, a mix of reggae, dub, punk, soul and all sorts of other influences meant there was nobody else quite like them. Their rendition of Marvyn Gaye’s “Heard it Through the Grapevine” is still one of my favorite cover-versions of all time.

It was a funny old day, the day of the Brighton gig. I regularly take my niece out on a Saturday morning, we go down to our local beach cafe for breakfast and to talk about life, the universe and everything! And who should we bump into but Ari, Tessa and co having breakfast! So we sat with them and they invited my niece Frankie along to the gig that night.

We all popped along there in the evening and had the best night out ever, The Slits were amazing, the crowd were lovely, lively and very friendly. Ari looked after us well, making sure that we got a safe spot, right at the front so that Frankie, and her friend, Faye didn’t get squashed.

They have a new album out, Trapped Animal, which I haven’t yet heard but has got good reviews. And Island Records are re-releasing their brilliant, seminal album, Cut as part of their “top 50 Island Records”.

So, it’s inspired me to start a series of blogs on women who have inspired me in my work. I’ll start with the ones considered to be “punks” and see where that takes me. Next week I’ll go back in time a little and look at some of my musical heroes from across the pond including Patti Smith and Nico.

I went to Amsterdam earlier this month, with the Gridiron gang, to attend IBC 2009. I had several meetings to attend, demo’s to do and an interview or two to give. So I packed my suitcase with all my usual accoutrements, everything I would need for a business trip in a distant land! I get especially nervous when packing for a trip like this, what should I bring, and what is it OK to leave behind?

These seem like life-threatening decisions in terms of the anxiety they produce. The bag mustn’t be too heavy, otherwise I may aggravate my old shoulder injury. On the other hand, I mustn’t be caught short in front of my colleagues by forgetting a vitally important piece of equipment. I need to make sure I have backups of every item in case a cable stops functioning, or a hard drive breaks down so I usually pack two of each small item. Bigger items, like my Macbook Pro cannot be duplicated so they are packed in my carry on bag along with other fragile items.

Then there’s the bloody palaver with liquids to contend with! Do I take shampoo, or do I use the crappy ones the hotels provide? And what about conditioner? I’ve just had a fresh bleach-job done on my hair so I’ll need that too. So I pack all the lotions and potions I could possibly need, end up using a very small percentage of them, and then over-packing my bag for the journey home with more bad-quality toiletries pilfered from the hotels, it’s craziness. Plus, I’m always tempted by those cute little 100 ml containers of essential gunk that they sell to us in the airports – Listerine have made a fortune out of me in the last six months!

Anyway, after a day of decision-making, un-making, then re-making. Irritating my partner with “do you think I’ll need this?” every two minutes. I finally decide on the perfectly packaged selection of items and board the plane with a sense of relief. Time for my customary British Airways G&T, I can finally relax. “I’m sorry Madam (I hate being called Madam!) we no longer serve ice and lemon in standard class” I’m told by the air steward. So, my one solitary treat that I allow myself to make the ordeal of packing and flying bearable has now been removed by British Airways and their continual penny-pinching ways. That’s it, the straw that finally broke the camels back, I’ve flown with BA regularly for years but that’s it, no more am I paying a premium for a service that’s no better than the budget airlines. Sorry, digressing but had to get that off my chest! I mean, it’s not a G&T without ice and lemon, really!

So, finally I make it to Amsterdam and the RAI where I’ve attended IBC, and other events for the last 12 years. I love this city, and it’s people. In fact if I was to live anywhere else in the world than my dear, dear Brighton, it would be Amsterdam. IBC was really good for us at GridIron, we were partnering with Apple on a few events and briefings at the Miranda Pavilion which were very well attended by an excellent, highly qualified group of individuals. We showed Flow and had amazing responses from them. Apple also hosted a party for us at the pavilion where Mark Coleran gave an excellent presentation on his journey from Screen Designer on Holywood movies to becoming the graphical interface designer of Flow.

I also saw some cool stuff, I was impressed by JVC’s HM series of cameras (and I’m a Sony-girl!) These cameras record direct to SD cards in MPEG (for ingest through Log and transfer) or Quicktime for direct drag and drop into the Final Cut Pro timeline. Very nice indeed. Adobe Story looks like an interesting product for scriptwriters, a new market for Adobe, interesting to see how it fairs. Object Matrix is a compelling product that you must see if you’re at all interested in affordable, scalable, secure storage, they make it a piece of cake. And of course the improvements made to Apple’s own Final Cut Studio and Final Cut Server continue to impress.

So, of course I came home with a much heavier suitcase, packed with brochures, receipts, giveaways and all sorts of other flotsam and jetsam. That was two weeks ago and I’m only just unpacking now! In fact I’ve done two other events since returning, have stayed in two other hotels and now have two suitcases to unpack! It’s a sorry state of affairs when you have to have rotating suitcases – two cases, each with enough clothing, toiletries and other essentials so that you can leave on a second trip before you feel like you’ve completed the first. I really am a trolley-demo-dolly!

Angie’s shuffle track of the day – Another Girl, Another Planet, The Only Ones – Listen free on Last FM

I’ve had many careers in my lifetime, one of them being a deejay in the 1990s London club scene. I regularly deejayed at clubs like FF at Turnmills, Mix it at Heaven, The Fridge, The legendary Bell in Kings Cross, and the good old Market Tavern. I gave it all up in about 1993 to follow my heart and find a way of making a living from my art, through motion graphic design. It’s taken me to places I never expected to be and here I am, Creative Director of a software company – sometimes I wonder how the hell I got here!

Anyway, next Sunday I’ll be marrying two of my worlds. We, GridIron Software, will be at IBC next week, partnering with Apple to show how our products can integrate and improve the production workflow. I’ll be working with Apple, showing how to get the best from Flow and their new Final Cut Studio.

Apple and GridIron will also be partnering on some other stuff that includes our IBC Party. We’ll be celebrating with our industry friends, the success of Flow which has recently had some amazing reviews. We’ll have a short introduction from our CEO and founder, Steve Forde, followed by a talk on Screen Design by our very own Mark Coleran, who designed screeen graphics for hollywood movies such as Tomb Raider, The World is not Enough, and the Bourne Identity. Mark left his career in Screen Graphic Design and joined GirdIron Software to work on the user experience and interface for Flow.

I’ll be dusting down my headphones, providing the MC services and also deejaying after Marks talk. I’ll be playing a mixture of music to suit everyone but please feel free to ask for requests by using the comments section below. The event is for pre-registered guests only but we have a few spare tickets available at the exhibition. So, if you want to come along, please make your way to the JVC stand in hall 10 (stand 10.D41) at the following times;

Friday – 12.00-12.30, 14.30-15.00
Saturday – 9.30-10.00, 13.00-13.30
Sunday – 9.30-10.00, 16.30-17.00
Monday – 9.30-10.00, 16.00-16.30

Please make yourself known to me. You can always request some music and I’ll try my best to play it for you!

looking forward to seeing you there!

Angie’s shuffle track of the day – Panic, The Smiths – listen free on We7.com

In this final blog-episode about the influence of Punk on Design I intend to highlight some of our own designers who are clearly influenced by Punk. I’ll start by mentioning one or two that emerged directly from the movement that followed the first few seeds sprinkled by the like of Vivienne Westwood and Jamie Reid, who I spoke about in the last episode.

The influence of fanzines like Sniffing Glue cannot be overlooked. Mark Perry, who was also the singer in Punk Band, Alternative TV started his fanzine in the summer of 1976, when the Punk Rock scene was at its most vibrant stage. At that time there was no media positively covering the emerging scene (although the mainstream British press were doing a good job of filling their front pages with outrage and condemnation). The amateurish and scrappy layouts took the whole ethos of Punk and applied it to magazine layout. Anyone could do this, all you needed was some paper, a marker pen, a creative mind, passion and a photocopier. In terms of layout and design there were no limits, to restrictions, no rules. It was a complete disregard for established “rules” of design” that allowed designers to wipe the slate clean and start again with a fresh new look.

It’s American counterpart, Punk ran for slightly longer, till 1979. This had a slightly more considered, “designed” look, using cartoonist, John Holstrom’s fabulous Crumb-esque characatures of the likes of Iggy Pop, The Ramones, Debbie Harry and Lou Reed  to adorn it’s pages. It was slammed for being light-weight in comparison to it’s British counterparts. It was quite weak and was run as a business so lacked the passion and energy that Sniffing Glue was oozing with. But that shouldn’t detract from some excellent imagery produced by the artist-in-residence.

It wasn’t long before trained Graphic Designers started to adopt the styles and freedom that Punk provided. The first example that really stood out for me was the cover of a single by Manchester band, The Buzzcocks. The image on the cover was a collage created from body parts from porn magazines, torn and composited, collage-style; the head of the woman was replaced with an iron. The image was designed by Linder Sterling, an artist and collaborator on the fanzine, Secret Public. Sleeve designer, Malcolm Garret who had just left art college was responsible for the Bauhaus-inspired typography, composition and color choices.  He went on to design all the subsequent covers for the Buzzcocks, then Duran Duran, Peter Gabriel and others. Malcolm really got the punk style established and has had continued success as one of our most well respected typographers and designers.

Other designers followed in the same vein. Neville Brody left college in 1980, where he designed posters for bands including the Human League. He went on to design artwork for post-punk bands like Depeche Mode and was catapulted to huge success after his work on the Face magazine. He is now an established graphic designer and typographer designing style for huge brands like the Guardian newspaper, and having work exhibited at the Victoria and Albert Museum.

Peter Saville was another contemporary who designed sleeves for Joy Division, New Order, Ultravox and developed the influential style of Factory records. His minimal style still looks current when placed next to contemporary designs.

So, these are a few examples of designers who have carried the influence of Punk through to today. I’m sure I’ve missed a few gems so please feel free to submit comments, inspirations and ideas. You can look everywhere to see design influenced by Punk and I’d love to see some of your own examples and comments.

Angie’s Shuffle track of the day - Blondie, Rip Her To Shreds – listen free on Last FM

Angie Taylor is the European Creative Director of GridIron Software

Last week I spoke about the Punk revolution in the UK and how inspiring it was to young people like me. Today I’ll talk about some of the great designers who emerged from that scene. I’ll start by looking at two of the key players who defined the style of the Punk Rock movement in the UK. 

There’s not one person responsible for the style of Punk, it was a coming together of minds and styles. A collective, group activity gained momentum, and as a result, the various styles of the people involved merged into an established fashion. But the pivotal people were the ones who recognized the elements that would excite and brought them together with style, panache and, of course an eye for design.

The punk movement grew out of a basic disillusionment, with the establishment, the music scene, fashion, the media. What better way to show your dissatisfaction than to tear it all up and start again? That’s exactly what punks did. Essays on design refer to this as “Deconstruction”. This wasn’t a new concept, post-modern art movements like the Dadaists and, ironically, the Constructivists used techniques of disassembly and reassembly to shake up the status quo and embrace a new way of looking at things.

In New York in the early seventies, bands like the New York Dolls would dress up in womens clothes in an attempt to shock away the apathy that existed in the music scene. Richard Hell was the one who became a blueprint for thousands of young punks, defining the spikey hair and ripped t-shirt look before anyone else. But it was really Vivienne Westwood who took the look and developed it into a recognizable style. Now one of our top designers, she started off with a small clothes shop on the Kings Road in London. She and Malcolm McClaren owned “Let it Rock”, a shop selling biker gear and teddy boy clothes. In 1974 this was revamped and renamed SEX, catering to the S&M scene and positioning itself nicely to shock the nation and take punk rock to the headlines.

The Sex Pistols hung out in the shop and that’s where the whole thing took off, the band formed, McClaren became the manager, and Vivienne designed clothes for them under the label, “Seditionaries” – it was a symbiotic relationship. At Art School Malcolm McClaren metJamie Reid, a political activist and Situationist who was producing a radical magazine called Suburban Press. He used a cut and paste style of graphics in this magazine, and it was then that he defined his trade-mark ransom-note lettering that was made famous by the Sex Pistols first album “Never Mind the Bollocks, Here’s the Sex Pistols“.

In the next installment we’ll take a look at the designers who emerged from, or were directly influenced by the Punk movement. 

Patti Smith - Smells Like Teen Spirit, listen free on Last FM

Angie Taylor - Art School ID card

I was asked on Twitter to write a blog about the early days of Punk in the UK and it’s influence on the world of design. I, probably more than most, am influenced strongly by the punk movement that started in the seventies in New York and London. I was 12 when it all started to kick off in the UK with the Sex Pistols and their entourage, the Bromley Contingent causing joyful havoc in the UK media.

Before the punk scene things had become very sterile and safe. Politically, the UK was in a mess with regular strikes and power cuts disrupting everyday life. The music scene was drowning in boring “prog rock” and endless, indulgent guitar solos. Something had to give!

Then along came the idea that you didn’t have to put up with what you were being spoon-fed. The disillusioned youth of Great Britain realized they could make their own music, art, magazines and fashion. Using the influence of the New York underground music scene (Patti Smith, The New York Dolls, Richard Hell, Iggy Pop, Velvet Underground, The Ramones) the kids of the UK took it upon themselves to create a whole new genre and to revolutionize a complete culture in a way that had never been done before (or has ever been done since).

As you can imagine, this was a really exciting time for a teenager to grow up. It wasn’t really till 1977 that I got hooked into the Punk scene. I loved it! Before then I was an awkward, funny-looking, scruffy, Tom-boyish kid with glasses who didn’t really fit in. I survived at school by being the class clown, and that way avoided any physical abuse from my fellow classmates, but I was regularly ridiculed for being “the outsider”. Suddenly with the Punk scene I could belong! It’s ironic, isn’t it, that the movement that purported to be all about being different, and not caring what other folks thought, became a lifeline of acceptance to kids who didn’t fit in anywhere else. It wasn’t that we wanted to be different, and didn’t care, it’s that we cared and desperately wanted to belong to anyone who’d have us. It’s human nature to want to feel like part of a gang, or a movement.

Anyway, inevitably, the vultures descended, and what started as a revolutionary, do-it-yourself, creative movement turned into just yet another fashion. Mainstream media quickly gobbled it up and spat it out as a kind of bastardized version of what it one was, and things have never been quite the same again.

However, the marks and influences of the punk movement are still alive and kicking today. Next week I’ll look at some of the deigns of today that were influenced by this movement.

Angie’s Punk shuffle Track of the day – Anarchy in the UK – The Sex Pistols, listen free on Last FM

Hi all, 

Just to let you know that my blog has moved temporarily to the following address.

Please subscribe to the RSS feed, I’ll be updating it on a weekly basis.

http://www.gridironsoftware.com/blog

Click on this link and then the link to ‘Angie’ for my latest ponderings.

cheers,

Angie