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ISSUE 22
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The CSD quarterly surveys provide feedback on key issues concerning the design industry today.
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The CSD Design Business Survey - Q1 2015
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The Chartered Society of Designers conducts quarterly design business surveys to inform the profession and interested stakeholders as to the trends across a range of issues concerning design businesses. The surveys provide key indicators in areas such as investment, employment, growth and turnover showing changes, current attitudes and future considerations.
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The findings of each survey will be published in TheDesigner and on the CSD website with comparative data showing the latest trends. The data will also feed into our regular business meetings with The Bank of England when we represent the interests of the design sector.
Bracketed figures show the results from the previous survey.
PARTICIPANTS
Are you a member of The Chartered Society of Designers?
The survey is conducted across the design sector with responses gathered from both CSD members and non-members. Responses have remained fairly consistent over the past two surveys as indicated in the chart.
DESIGN BUSINESS ACTIVITY
What is the main design activity of your business?
By far the greatest response in Q4 2014 was from 31% of businesses that practiced in graphic design with a further 12% indicating their business was mainly focussed on identity and brand. These two areas of activity have again provided the greatest response in Q1 2015 with 19% and 33% of respondents respectively.
The most recent survey has shown 10% of respondents identifying service design as their main activity which welcome news that the survey is reaching a wider audience given there were no respondents operating in this field in the previous survey.
EMPLOYMENT
How many people does your company currently employ?
By far the greatest proportion of responses in both surveys (54% Q4 2014 and 44% Q1 2015) was from businesses with between 1-5 employees. This is to be expected given the nature of the design sector which comprises mainly of micro businesses. However, responses from businesses employing more than 11 people made up a large proportion with 34% and 55% respectively. The number of respondents employing more than 100 people doubled in the Q1 2015 survey to 11% indicating the findings are covering a wide range of design businesses.
FUTURE EMPLOYMENT TRENDS
Within your company, over the next 12 months how do you expect employment numbers to change in the following groups?
The news is still good for design graduates with 50% (45%) of respondents expecting to increase the numbers they employ over the coming year.
Just over 31% (36%) expected to increase their employment of middle weight designers with 20% (5%) expecting to recruit more senior designers.
Whilst the majority 85% (90%) expected to maintain the current levels of management employees there was a noticeable trend of respondents expecting within the next 12 months to increase sales staff 44% and other admin staff 38%.
PAY EXPECTATIONS
What are your expectations for average employee pay over the next quarter?
Expected changes in salaries over the next quarter.
More than 62% (37%) of respondents are expecting to implement pay rises to staff over the next quarter, the vast majority of these 88% anticipating pay rises of between 1 – 5%. Some 6% of employers are expecting to see pay rises of 5% plus.
RECRUITING CONCERNS
If recruiting do you consider any of these factors to be of concern?
Skills remains a prime concern among 88% (100%) of respondents with some 44% (32%) indicating a shortage of applicants to be their second concern.
SKILLS SHORTAGE
Do you consider there to be a skills shortage within these groups of designers?
65% (62%) of respondents consider there to be a skills shortage amongst graduates. These are consistent findings across numerous surveys over the past two decades as highlighted by past Design Council and Sector Skills Council initiatives. Such concerns led to the Society’s Course Endorsement Programme, which is aimed at assisting courses to develop the skills the design profession needs.
62% (52%) considered there to be a skills shortage amongst those with up to 5 years’ experience which could well be an inevitable result of the skills shortage identified in graduates as the progress through their career. It clearly indicates a role for relevant CPD and collaboration with employers and training organisations.
INVESTMENT
Will you be investing in the following areas of your business over the next 12 months?
Areas in which respondents plan to increase investment over the next 12 months
Some 56% (46%) of respondents indicated that they will be investing in staff over the next 12 months.
By far the biggest expected investment is in training with 78% (21%) choosing this as their prime investment and it is comforting to note that design businesses realise that this investment will address the issues of the skills shortages they have highlighted in earlier responses.
Equipment, premises and promotion all show signs of increased investment indicating a growing confidence.
DESIGN FEES
What your expectations are in regards to design fees over the next 12 months?
Possibly reflecting salary expectations, 62% (33%) of respondents expect to increase their fees over the next year with 17% (8%) planning to increase fees by 5% or more. Optimistically none of the respondents to the Q1 2015 are anticipating a decrease in design fees.
GROWTH
How do you expect growth to change over the next 12 months?
Expected changes in growth over the next year.
Recent results point towards an increase in growth for design businesses over the coming year, with the number of respondents expecting an increase in growth reaching 56% (39%). This positive response reflects the anticipated increases in employment and investment shown in our research. With the National Institute of Economic and Social Research cutting down their forecast for growth this year to 2.5%, the positive expectations in our survey may be the result of the competitive and adaptable nature of the design industry.
DEMAND
How do you expect UK and export demand to change over the next 12 months?
Within the UK, there was an increase of 50% of the respondents considering that demand for design services will remain the same with 61% (40%) expecting no change in the coming year. When asked if UK demand would increase only 39% (45%) of respondents agreed.
When questioned about export over the coming year, 41% (29%) expected this to increase, 53% (57%) expected demand to remain the same and only 6% (14%) expected demand to decrease.
CONFIDENCE
Compared to the previous quarter how is your overall business confidence?
Business confidence levels compared to the previous quarter.
The Q1 2015 results have revealed a positive shift in business confidence with 56% of participants reporting a higher level of confidence this quarter compared to 39% in the previous quarter. Only 6% (17%) of respondents felt that business confidence was lower than the previous quarter.
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Designers look forward to a new era of business boosting copyright reform Copycats beware
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The Society’s Intellectual property adviser, Margaret Briffa highlights below the long journey to copyright reform.
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After protracted consultation the government has announced that the long awaited repeal of the law that limited copyright protection for 3D artistic works to a maximum of 25 years will take effect as from 6 April 2020. From this date all works of artistic craftsmanship such as designer furniture and lighting will benefit from copyright protection for a period of time coinciding with the life of the designer and extending 70 years after their death. In one fell swoop 3D industrial designs are put back in their rightful place and will enjoy the same rights as those afforded to 2D artistic works such as graphics, photographs and paintings. The change will affect all new designs created after that date but will also claw back into copyright designs which were created before that date if they would otherwise have been in copyright under the life of author and 70 year rule.
It has been a long journey to reform however the gains for designers in any discipline will be huge. As a lawyer the anomaly that had arisen and is embedded in the current law has not been easy to explain let alone justify. An understanding of how we arrived at the current sorry state is however is instructive. Further it is testament to the fact that without good lobbying and associations taking care of designer’s interests an industry can find itself downgraded and unprotected.
Rear view of Leyland Marina showing tailpipe
The story started in 1986 when British Leyland sued a company called Armstrong for making exhaust pipes and selling these as spare parts. Under the law as it stood then, British Leyland as copyright owners could prevent the making of such spare parts for the life of the designer and 50 years after their death. It is the nature of spares that the design must fit and match the article it is being fitted to and that it also closely resembles the original so far as possible leaving no real design freedom for the designer. In order to prevent such a result, the court applied the doctrine of ‘non derogation from grant’. It goes like this. If you sell someone a car they should be entitled to buy spares for that car at a reasonable price and hence the rights given by copyright conflict with that and should not be used to override the right of the consumer.
The government of the day led by Margaret Thatcher learnt of Armstrong’s struggles and decided on a course of copyright reform. This manifested itself in the form of the Copyright Design and Patents Act 1988. It created a whole new class of right called a design right, which can best be described as a second class copyright that would apply to functional articles that were devoid of artistic character. At the same time the law provided that artistic works which were produced by an industrial process were also to be relegated to designs that did not benefit for the fuller term of copyright and would also have only second class rights. These designs were otherwise called ‘mass produced’ with mass produced being understood in the UK as the production of more than 50.
The position currently and before the 2020 reform becomes law is that 3D products generally are only protected for a period of 10 years from first marketing in the UK and 3 years across the European Community. It is possible to better the protection by registering it as a design in which case the designer can enjoy a period of up to 25 years of protection from registration. Registration needs to be applied for within a year of first placing the object on the market for sale or displaying to the public.
With respect to one off products and whether they are works of artistic craftsmanship was left to the court to interpret. The case of Hensher v Restawile in 1975 concerning a piece of furniture remains the authority and provides the necessary guidance. With the removal of the restriction that works of artistic craftsmanship must be hand made, this case which sets a high threshold for what is ‘artistic’ will resume its former importance as a guide to what is and what is not a work of artistic craftsmanship. Meanwhile the government plans to issue non-binding guidelines as to the products that would be considered to meet this standard. The ultimate test however will be left to the courts.
6 April 2020 may seem like some way off. The date was decided to ensure those that base their business model on copy products have time to change their model. As with all legislation there is a balance to be struck between the various vested interests of those in the industry in its widest manifestation.
For further information about Intellectual property matters please visit the members’ area of the website or email info@csd.org.uk
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CSD PROFILE
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“Design is a plan for arranging elements in such a way as best to accomplish a particular purpose.” - Charles Eames
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Lynsey Edwards MCSD
Graphic Design
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Creativity runs in the family for Lynsey, she told the Society about her interesting family background- “They are proud of my achievements, but I have a lot to live up to...
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...my Granddad designed and built kit cars and even replicated old masters including Rembrandts for his clients; Great Uncle John worked with him and was asked by Peter Morgan to design their Morgan Plus 4 Plus, specifically so a lady wouldn’t have to remove her hat to get in the car – that’s what gave the classic its bulbous roof. Great Aunt Gwen is the president of a watercolour society in Vancouver and her husband, Arthur, was taught painting by Sir Henry Moore. Great Great Uncle Harry won a lifetime supply of mints by entering a competition and writing the ‘Murray Mints Murray Mints, too good hurry mints’ song… so creativity is in the genes, but I’m still working on winning a competition for an on-going supply of sweets!”
With such a background is not surprise that Lynsey was free to choose a career that better suited her abilities. “I’ve been lucky as I have always known that I was going to be an artist or a designer. My parents are artistic, and therefore I was never told to get a ‘proper’ job and always encouraged to believe in my abilities. I view design as solving visual puzzles, I have always been fascinated by line, form and colour, and the effect it can have upon people. With every project and client I am reminded of what Charles Eames said: “Design is a plan for arranging elements in such a way as best to accomplish a particular purpose.” It’s so rewarding to be able to understand what a client is trying to achieve, and then to solve that puzzle. I don’t tire of it, and there are opportunities to be fresh and imaginative every day.”
Lynsey’s dream has always been to start her own agency, which she accomplished in 2009. She spoke to us about her pathway to achieving this goal and some of her previous experiences working at design agencies in the UK: “I’ve had quite an unorthodox career, after graduating I completed a work placement in London, and then walked into a job at a design agency, local to my family home in Cheshire. I’ve never actually had to show a CV and have been fortunate enough to gain employment by recommendation and portfolio alone. Having gained experience in three different agencies it gave me the confidence to co-found trCREATIVE in 2009.”
trCREATIVE offers a variety of different services including corporate identity, branding, brand and marketing strategy, UX / UI design, web development, graphic design, packaging, copy-writing, and PR. “We work with a whole host of clients from start-ups to large multinationals in many fields. It’s the variety that keeps the job exciting for me. New technologies, such as Augmented Reality and the advance in website capabilities, add to the thrill of working in our agency environment. I see them as new ways of conveying an idea and it is wonderful not to feel restricted or inhibited by different media.”
Some of Lynsey projects are shown here which include: Warble Entertainment Agency
Established in 2006, Warble Entertainment is an entertainment agency with a vast experience in organising weddings, parties, corporate events, balls, festivals, exhibitions and award ceremonies.
The Challenge – “The client asked trCreative to re-brand Warble with a fun new identity that reflected the company’s ethos and offerings, and that attracted more high profile clients and grew their client base.”
The Solution – “We developed a CRM to help them progress their company to the next level and help them run their business much more smoothly. Lynsey drew inspiration from their name, Warble, and translated it into a hand-drawn illustrative bird to give their new look distinction and an element of fun, utilising jQuery. The new branding is flexible across their whole offer, giving them plenty of fresh and flexible ‘bang’ for their logo ‘buck’. The Warble Entertainment branding and associated marketing work has been featured in Creative Review and THEDRUM online.”
Another contrasting project was: ctchealthcare
, which specialises in injury prevention and health management. It has progressed from a one-man physiotherapy clinic in 1994 to a large company that delivers physiotherapy and well being services nationwide.
The Challenge – “This company was looking for a re-brand to reflect its activities and ambitions today. trCREATIVE was asked to take the new brand through into a responsive website and supporting promotional material.”
The Solution – “TrCREATIVE developed an identity that promotes energy, growth, happiness, health and well-being, whilst still offering an authoritative and trusted feel. The new logo subtly incorporates the letters CTC, with the Cs reflected in two interlocking halves of the orange sun. The blue letter T or + is a positive and powerful motif the sits at the centre of the logo.”
TheDesigner asked Lynsey for some words of advice to graduates entering the graphic design sector in the current economic climate, here is what she shared with us: “Always show your inspiration, your ideas and train of thought. Your ideas are the most important aspect of design. Implementing them is an on-going process - how you refine them with changing trends and technology developments. If you are passionate about design and have a thirst for knowledge and creativity, it will be infectious and attractive, and your commitment and enthusiasm will shine through your work. Make yourself as accessible as possible by having online portfolios. If you don’t have any commercial work, create some of your own fake briefs to show potential employees your abilities and understanding of commercial challenges. Never be afraid to ask questions. Be enthusiastic, positive and get involved. If you stop pushing yourself, you stop learning, and if you stop learning you stop evolving.”
As to why she joined the Society, Lynsey is clear about it: “I became aware of the CSD about 10 years ago and have wanted to become a member ever since. Professionally it makes me feel validated and I feel it helps me win jobs by being associated with the Society.”
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CSD PROFILE
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“The economic climate may vary; but persistence and focus will pay off. Don’t give up in the face of adversity. Believe in yourself, empathise with your client. Keep on learning.”
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Jasmine Sterianos MCSD
Interior Design
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Jasmine originally studied Psychology at University in South Africa, it was after graduating that she realised her passion for design. She gained an Architectural Interior Design Diploma with Distinction from Inchbald School of Design in London and since then she has enjoyed more than a decade of experience in the design industry.
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“Jasmine believes aesthetically pleasing, functional surroundings enhance our well being: she finds it extremely fulfilling to transform a space, to realise its full potential and to delight its users; being based in the UK provides further creative stimulus due to its cultural diversity and the variety of potential clients makes life as a designer very stimulating. This diversity is reflected in creative professional organisations and sources of supply.”
After graduating from Inchbald School of Design, Jasmine was fortunate to be recruited by a small, award winning practice which provided her with the experience and emboldened her to strike out on her own.
Jasmine’s projects have included both domestic and commercial interiors; recently she became a finalist in the SBID Design Excellence Awards 2014.
Below we can see one of her recent projects: Children’s designer clothing retail outlets
Jasmine worked on a project for children’s designer clothing retail outlets ‘Little Labels’.
The Challenge - “The stores while being low budget must appear high end, as a backdrop to expensive designer garments for children to entice both parent and child footfall being all-important.”
The Solution - “Jasmine answer involved creating uncluttered spaces with a feel of quality and unusual choice of materials with a hint of frivolity to invite parents and kids to relax, to linger and absorb the atmosphere.”
A totally difference proposition was the design for a the New Build Residences in Ealing, West London.
The Challenge - “The brief was to create properties that would appeal to a broad market interested in suburban homes with all modern comforts but they also must remain family centered and intimate.”
The Solution - “Jasmine's relaxed but classical design provided for an aesthetically pleasing and enduring solution, whilst allowing the prospective owner to add their signature and to tame the property.”
Jasmine offered some words of advice to graduates entering the interior design sector, “the economic climate may vary; but persistence and focus will pay off. Don’t give up in the face of adversity. Believe in yourself, empathise with your client. Keep on learning.” Jasmine has been a member of CSD since 2002, and she currently holds the position of Director at her own company, Jasmine Sterianos Design, based in South West London. She joined the Society because as she says: “CSD membership confers a hallmark of professional excellence.”
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Events &
CSD Special Offers
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CSD OFFERS
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PRODUCT DESIGN AND INNOVATION 2015
20-21 May, America Square Conference Centre, London.
Once again the Society has partnered with Crane Communications to support PD+I 2015, the event for industrial designers. Celebrating its 5th anniversary in 2015 the unique two day conference will be held on the 20th and 21st May at London's America Square conference facility, still only a stone's throw from the iconic Design Museum. Heralded as the best conference programme yet, PD+I 2014 featured some huge names in the design world including our President Elect Peter Bosson FCSD, Richard Seymour and Sir John Hegarty. The Society has negotiated a 25% discount for members, please visit the members' area to retrieve your code.
NEW DESIGNERS EXHIBITION 2015
Part 1: 24-27th June, Part 2: 1-4th July
New Designers this year celebrates 30 years at the Business Design Centre, London.#ND30years. Every year over 3,000 of the most promising graduate talents from Britain’s leading design courses exhibit, presenting an unmissable opportunity to buy new products, be inspired and discover new design talent to commission or recruit. Chartered Society of Designers’ members can purchase advance day tickets for a special discounted rate. Find your code in the members' area.
EVENTS
MADE IN CLERKENWELL
7 – 10 May, Clerkenwell Green & St Johns square, London
The bi-annual Made in Clerkenwell: Open Studios will take place in May, during London Craft Week, a brand new annual event putting craftsmanship centre stage of the world’s creative capital. The exhibition will showcase designers from Craft Central as well as the Nation Network of Makers with pop-up exhibition spaces, it includes interiors, fashion and a host of live demonstrations.
DIGITAL SHOREDITCH
11-24 May, 42-46 Princelet E1 5LP
Experience the very best tech, creative and entrepreneurial talent at this two week celebration in East London. The programme includes keynotes, lightning talks, workshops, discussions, panels, debates, fireside chats, experimental installations and more.
CREATIVE EDUCATION EVENT
13 May, Godfrey Mitchell Theatre, SW1P 3AA
Supported by the Institution of Civil Engineers, the event aims to highlight concerns about the narrow focus of some school and policy makers regarding science, tech and maths without art drama and design subjects. Lack of this is arts education is damaging engineering and creative industries, the Creative Education Event hopes to unite arts and sciences making STEAM from STEM.
ACCESS TO CAREERS IN CREATIVE INDUSTRIES
14 May, Somerset House London
In association with the Bridge Group, The Federation Policy Seminars are exclusive events where selected experts hold detailed discussions on specific areas of policy affecting the creative industries.
MAY DESIGN SERIES
17-19 May, Excel London
The 2015 May Design Series brings together more than 500 brands from 26 countries for its 3 day conference programme. The exhibition showcases new products across the entire design spectrum. Tickets also include a complimentary conference and seminar programme with 35 sessions across the 3 days, addressing the interior supply chain, as well as macro social and economic factors that impact the residential, retail, commercial and hospitality sectors.
WHAT DESIGN CAN DO
21-22 May, Stadsschouwburg Amsterdam
Designers from all disciplines and from all over the world gather to share best practices and speak about the social relevance of design. The programme combines headline names and surprising new talents creating an international arena where designers can inspire one another.
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