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Results of the CSD Design Business Survey
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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 findings from indicators in areas such as investment, employment, growth and turnover showing changes, current attitudes and future considerations.
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The CSD quarterly surveys provide feedback on important issues concerning the design industry today. The findings of each survey are 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 at which we represent the interests of the design sector.
NB: Bracketed figures show the results from the previous surveys.
PARTICIPANTS
Are you a member of The Chartered Society of Designers?
The survey is conducted across the design sector with responses gathered from CSD members and non-members, the proportion of respondents in the non-members group has been steadily increasing. In Q2 29% (Q4 2014: 16%, Q1 2015: 18%) of participants were non-members which is welcome news that the survey is reaching a wider audience.
We have also seen a 36% increase in the number of respondents for the most recent survey compared to the first survey in Q4 2014.
The graph shows the total number of participants that took part in each survey identifying members and non-members.
DESIGN BUSINESS ACTIVITY
What is the main design activity of your business?
The greatest response in Q2 2015 was from 21% (Q4 2014: 4%, Q1 2015: 10%) of businesses that practiced industrial design, the second most prevalent was a tie between architecture 18% (Q4 2014: 0%, Q1 2015: 5%) and interior design 18% (Q4 2014: 19%, Q1 2015: 0%).
Previous surveys showed the majority of respondents identifying graphic design (Q4 2014: 31%, Q1 2015: 19%) and branding (Q4 2014: 12%, Q1 2015: 33%) as their main design activity. The proportion of respondents from these sectors remained popular both at 15% this quarter.
The table shows the top 5 design activities of respondents to each of the surveys.
EMPLOYMENT
How many people does your company currently employ?
By far the greatest response was from 63% (Q4 2014: 67%, Q1 2015: 56%) of businesses with 10 or less employees and of this group 47% (Q4 2014: 54%, Q1 2015: 44%), employed between 1-5 people. This is to be expected given the nature of the design sector which comprises mainly of micro businesses and small teams or individuals.
It is important to note that the design industry has (and has always had) a significant freelance workforce. A study by the ‘Professional Contractors Group’ estimates that there are 1.4 million British freelancers working across all sectors, this reflects growth of 14% in the past decade. These results are supported by a report from ‘Elance’ which shows that 87% of graduates with first or second class degrees say they find freelancing to be a ‘highly attractive and lucrative career option’. Furthermore, 21% of graduates with first class honours say they have already chosen to work as a freelancer suggesting that this freelance economy will continue to gather pace in the UK.
FUTURE EMPLOYMENT TRENDS
Within your company, over the next 12 months how do you expect employment numbers to change in the following groups?
Key findings from the Department for Culture Media and Sport (DCMS) show that employment in the creative economy has increased from 1.81m to 2.62m jobs between 1997 and 2013. This is equivalent to a rise of 2.3% each year, around four times greater than 0.6% increase in other areas of the UK Economy.
The British Chambers of Commerce Quarterly Economic Survey Q2 2015 results showed that within services 30% of companies in the services industry are expecting their workforce to increase over the next 3 months.
For designers, the average results across different experience levels show our results to be in line with these surveys. Of our respondents 36% were expecting an increase, 63% no change and 1% a decrease in employee numbers of designers. This suggests that the majority of companies are primarily looking to maintain their current levels of employment but that there is scope for optimism given the expected increase in designer employment.
The chart shows the expected changes in employment levels for designers over the next 12 months.
A further breakdown of changes within employee numbers with different experience levels can be seen below.
Graduates
For designers at entry level positions 64% (Q4 2014: 50%, Q1 2015: 50%) of participants expected employment numbers to stay the same. The remaining 36% (Q4 2014: 45%, Q1 2015: 50%) expected an increase in the number of employees in this group.
Middle Weight
The majority of participants, 63% (Q4 2014: 59%, Q1 2015: 69%) expected employment numbers for middle weight designers to stay the same. Of the remaining respondents 33% expected an increase (Q4 2014: 36%, Q1 2015: 31%) and 4% a decrease (Q4 2014: 5%, Q1 2015: 0%) in employee numbers in this group.
Senior
Expectations for employment of senior designers followed a similar pattern. 62% (Q4 2014: 96%, Q1 2015: 80%) expected no change and the remaining 38% (Q4 2014: 4%, Q1 2015: 20%) expected an increase in employee numbers in this group.
Non-designers
For non-design employees (including management, admin/sales and other) the results showed 81% (Q4 2014: 92%, Q1 2015: 68%) expecting no change in employment numbers, 18% (Q4 2014: 5%, Q1 2015: 30%) an increase and 1% (Q4 2014: 3%, Q1 2015: 2%) a decrease.
This suggests that employers are planning to maintain their current employee numbers for other employee groups, but that employment growth will occur in design practice.
The chart shows the expected changes in employment levels for non-designers over the next 12 months.
PAY EXPECTATIONS
What are your expectations for average employee pay over the next quarter?
With regard to pay expectations, the results were split evenly 50% (Q4 2014: 58%, Q1 2015: 39%) of participants expected no change in average employee pay over the next quarter and the other 50% (Q4 2014: 38%, Q1 2015: 61%) expected an increase in average pay.
Of those expecting an increase in pay for employees, 47% (Q4 2014: 33%, Q1 2015: 45%) anticipated a rise between 1 – 2%. Surprisingly, some 20% (Q4 2014: 11%, Q1 2015: 9%) of these respondents were expecting to see pay increase by 5% or more.
The UK’s creative sector is estimated to be worth £71 billion in 2015, its value has increased by 15.6% over the past eight years. In 2013 the creative sector grew faster than any other UK industry and the DCMS reported that 1 in 11 of all UK employment is in a creative role.
The ‘major players salary survey’ revealed that in 2013 overall salaries for creative professionals remained strong, rising above inflation, with 59% of survey respondents reporting an increase in their pay. 1 in 5 permanent professionals achieved a promotion, suggesting the retention of creative employees is a priority for many companies.
With many policy makers focusing on growth and investment in the design sector and demand at a high in the creative industries, we predict that designers can expect stability in employment with healthy prospects of rises in salaries.
RECRUITING CONCERNS
If recruiting, do you consider any of these factors to be of concern?
Skills have remained a prime concern in all of our surveys to date and continue to be a concern for 89% of respondents this quarter (Q4 2014: 100%, Q1 2015: 88%).
Interestingly, the Q2 2015 results showed that a much greater proportion of participants felt salaries were a concern 43% (Q4 2014: 32%, Q1 2015: 25%) compared to previous results reflecting employers expectations of increases in pay.
The chart shows the changes in the proportion of respondents who felt each factor was a concern compared to past surveys.
SKILLS SHORTAGE
Do you consider there to be a skills shortage within these groups of designers?
The creative industries are ‘graduate rich’ with estimates from the CBI suggesting 16% of all university students are studying courses relevant to the creative economy. The issue in many areas of the creative industry is not the quantity of graduates but the business relevance of the courses they studied.
With rapid technological change and the requirement of job-specific technical skills, there is evidence to suggest that employers have indicated the content of university courses cannot keep up with their needs.
In the creative industries, strong business-university collaborations can help to ensure the content of degrees stays relevant and building successful relationships will help to match the delivery of training to business needs. CSD takes a leading role in this approach with projects such as the Course Endorsement Programme facilitating interaction between industry and universities and from ‘learning to earning’™.
The chart shows the percentage of respondents who considered there to be a skills shortage within each group of designers compared to past surveys.
Of our respondents, this quarter 71% (Q4 2014: 62%, Q1 2015: 65%) considered there to be a skills shortage among graduates. These findings are consistent across numerous surveys over the past few decades.
Some 57% (Q4 2014: 52%, Q1 2015: 63%) of respondents considered there to be a skills shortage for designers with up to 5 years of experience. This could be the result of the skills shortage identified in graduates as they progress through their careers. This is where CPD and relevant training programmes will play a key role in developing skills to fill these gaps.
For designers with more than 5 years of experience, the skills shortage was still evident, as identified by 42% (Q4 2014: 36%, Q1 2015: 35%) of participants.
INVESTMENT
Will you be investing in the following areas of your business over the next 12 months?
The areas in which the majority of survey participants said they would increase investment over the next 12 months were equipment, training, promotion and staff.
The chart shows the percentage of respondents who plan to invest more in each area over the next 12 months.
Some 57% (Q4 2014: 58%, Q1 2015: 56%) of respondents said they will invest more on equipment over the next 12 months, 55% (Q4 2014: 21%, Q1 2015: 78%) plan to invest more on training, 52% (Q4 2014: 25%, Q1 2015: 56%) expect to invest more on promotion and 50% (Q4 2014: 46%, Q1 2015: 56%) will invest more in staff.
Having identified skills shortages as an important issue among the design industry, it is comforting to note that more than 50% of respondents plan to increase the amount they invest in staff and their training over the next 12 months.
DESIGN FEES
What your expectations are in regards to design fees over the next 12 months?
Reflecting the changes in salary expectations, it is not surprising to see that 59% (Q4 2014: 33%, Q1 2015: 61%) of survey participants plan to increase their fees over the next 12 months. Within this group of respondents the majority 47% (Q4 2014: 13%, Q1 2015: 27%) expect to increase fees by 3-5%.
GROWTH
How do you expect growth to change over the next 12 months?
Optimistically, some 66% (Q4 2014: 39%, Q1 2015: 56%) of respondents expect growth to be higher over the next 12 months, a 10% increase from the previous survey. This positive shift could be a reflection of the anticipated increases in employment and investment shown in our research.
As noted by the UKTI inward investment report, despite a general slowdown of FDI (Foreign Direct Investment) flows during 2014-15, the UK creative industries increased FDI by 50%. The UKs stock of FDI has passed the £1trillion mark, underlining the UK’s position as ‘the inward investment capital of Europe’.
The UK creative industry generated a record GVA (Gross Value Added) of £76.9 billion in 2013, growing faster than any other industry. Creative industries now accounts for around 5% of total GVA in the UK, the highest ever share.
In 2014 government and industry partnered to develop an ambitious strategy to develop the creative industries in the UK and abroad by 2020, this project was launched as part of Create UK. In addition to this a number of initiatives have been introduced to create new jobs in the creative economy. These include a proposal from Nesta innovation charity which has developed recommendations to create 1 million new creative jobs by 2030.
DEMAND
How do you expect UK and export demand to change over the next 12 months?
The UK has the second largest design sector in the world and design accounted for £131 million of services exported in 2011. In 2012, DCMS reported that 8.8% of all UK exports were from the creative industries.
UK Demand
The results of the Q2 2015 survey revealed that the majority, 59% (Q4 2014: 45%, Q1 2015: 39%) of respondents are expecting UK demand to be higher over the next 12 months. This is a 20% increase from the previous quarter’s results.
Export Demand
In relation to export demand over the next 12 months, 38% (Q4 2014: 29%, Q1 2015: 41%) of respondents expected an increase, and the majority of participants, 58% (Q4 2014: 57%, Q1 2015: 53%) expected no change.
CONFIDENCE
Compared to the previous quarter how is your overall business confidence?
The chart shows the business confidence levels of participants compared to previous surveys.
The recent results revealed that 55% (Q4 2014: 39%, Q1 2015: 56%) of respondents reported that their confidence was higher this quarter compared to the previous quarter.
The proportion of participants who reported lower levels of business confidence this quarter was only 3% (Q4 2014: 17%, Q1 2015: 6%), in comparison to the Q4 2014 results this is a reassuring development.
The remaining 41% (Q4 2014: 43%, Q1 2015: 39%) reported no change in confidence levels.
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CSD News
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Philip’s design research explores, then maps and recodes a sustainable commercial landscape to determine how a diverse and productive future is possible.
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Design for Business: Research Conference
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Image: Design Matters/Agideas Exhibition Swanston Street Melbourne
Dr. Philip Whiting FDIA MCSD has been a member of the Chartered Society of Designers for over thirty years. He runs his own Design Research Consultancy ZEROPLUS.
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Based in Australia working with business management consultants as well as retail based organisations and operations.
Design for Business is a world class platform bringing together leading scholars, academics and business professionals from around the world to present current design research on large corporate and government organizations, small and medium sized enterprise (SME) business development, creative thinking, corporate and business innovation from fields such as design, business, management, marketing, the public sector and entrepreneurship.
The conference ran over two days 12 – 13 May 2015 in Melbourne and was presented in partnership with Creative Victoria and Swinburne University of Technology as part of the Melbourne Design Week and agIdeas.
Conference Venue: Federation Square Melbourne
Now in its fifth year, this trans-disciplinary conference presents the latest studies on the role of design as a strategic resource in the development of new business platforms, communication strategies, products and services.
As part of the Round Table Symposium – Business Development, Philip presented recent client case studies based upon his published paper for the conference entitled: Design Thinking Model for Business. The focus was his research and ground-breaking work with clients applying design thinking methodology and process over the past few years to assist clients in the development of sustainable brand strategies.
This work is primarily brand evaluation and risk assessment for the future which within the financial sector is seen as an extremely specialised art form. Philip’s hypothesis argues that using a design research process and methodology, what we call design thinking, it is possible to quantify desire, want and need. That is the intangible functional and emotional design assets contained within design and branding and at the same time identify future potential commercial risk. In this way his work further demonstrates that design thinking methodology can provide even greater leverage over the gap between anticipated commercial performance and any real future potential. Philip’s research in this area combines business pragmatism with perceptive & innovative design thinking to make sense of why a business exists, where it is failing and where it is succeeding.
Philip’s design research explores, then maps and recodes a sustainable commercial landscape to determine how a diverse and productive future is possible. He works with business management and financial groups using design thinking methodology to anticipate future consumer needs, as well as determining how to meet those needs to elevate a business and allow it to flourish.
Projects by Dr Philip Whiting FDIA MCSD
American Nails – Nailed it!
Background: The advent and popularity of Nail Bar Salons and Pedicures has created a glut of practical and functional environments that are at best disappointing and often reminiscent of typing pools or even sweat shops.
Our Role: Zeroplus designed a cost-effective shop-fit for American Nails and Spa developing a relatively small space into a visually exciting environment to dramatically improve the overall brand and user experience.
The Outcome: Our structured approach using a Design Thinking process provided the client with a playful design strategy to reposition the brand and strengthen performance for the future.
T&J Butchers - NEW MEATS OLD
Background: Butchers are an example of a typical saturated retail market sector. A total lack of differentiation makes it hard for customers to identify a suitable outlet that reflects both a clean modern environment and good old fashioned customer service. Every Butcher essentially sells the same range of products, tells much the same story and all with the same experience and lack of engagement.
Our Role: Zeroplus undertook a shop design rebranding programme for T & J Butchers in Westfield Shopping Centre. We defined the brand concept and positioned it in such a way to reinvent the very nature of the butcher outlet. This was achieved through a lively three dimensional design visual expression reflecting the new brand experience.
The Outcome: By mixing the traditional values of personal customer service from the past with the consumer needs and expectations of today, this new brand design has a fresh food attitude. The shop design provides a dynamic yet simplified customer service environment bringing the focus back to efficient and nutritional home cooked meals.
Alkan Kebabs – It’s a Wrap
Background: Alkan Kebabs became a design and branding opportunity to re-define and re-position the nature of Turkish Kebab fast food outlets. The client had a vision of a more contemporary looking outlet that moved away from the more predictable and traditional Turkish theme and culture.
Our Role: We provided the customer with an international & cosmopolitan environment for fast food. We set out to deliberately upset the customers visual equilibrium and appeal to the teen, the student and the young professional.
Outcome: The market for fast food kebabs had begun to mature to the degree where there was now a demand for a quality kebab product and the design had to reflect this as a unique brand concept. In addition, at the time there were many original design features within this design, including cost-effective and low maintenance use of glass partition walls, an energy efficient material both in terms of installation and use.
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CSD News
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Members of CSD can purchase 'Tangerine: 25 insights into extraordinary innovation & design' by Antonia Higgs for a special discounted price, find this and more offers in the members' area.
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How best to protect, exploit and extend the life of your designs
Intellectual Property Discussion Panel this September
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Three of Britain’s world leading designers share their views on how to protect and exploit innovative design.
Offering a unique insight into how best to protect, exploit and extend the life of your designs and innovations through Intellectual Property protection, Wragge Lawrence Graham & Co and tangerine have teamed up for a special event as part of London Design Festival 2015.
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The panel is led by design experts and the discussion will center on the designers’ experiences of protecting and exploiting their now world famous designs.
The Panel
Martin Darbyshire FCSD is the founder and CEO of strategic design consultancy tangerine; he is a Fellow of CSD and has been a member for more than 20 years. Martin will share his insights as the leader of the multi-disciplinary team that created many iconic designs including the Sky + box and both generations of ‘Club World’ business class aircraft seating for British Airways – the world’s first fully flat bed in business class, which since its launch in 2000 remains the profit engine for BA. The design’s patented overlapping armrest protects BA’s unique yin-yang seat configuration. Martin taught at Central Saint Martins for a number of years and many of his students are now leading designers in their own right.
Richard Joseph is the co-founder of iconic kitchenware brand Joseph Joseph; he champions the company’s defence against copy products which seek to cash in by imitating Joseph Joseph’s distinctive brand. Having studied product design, and having been taught by Martin, Richard and his brother Antony set out to engage users with innovative design, captivating them with functional benefits, whilst delivering high quality workmanship. The brand is one of the fastest growing companies in the housewares market worldwide. Richard will share his knowledge of how to manage a company’s resources in order to protect IPRs and design and the associated costs.
Rob Law MBE is the founder of Magmatic and is well known as the designer and inventor of the Trunki™ suitcase which now sells in around 100 countries. Rob also benefitted from being nurtured by Martin having completed an internship with tangerine during his university years. He has worked hard to protect his globally successful designs and shot to fame when he appeared on BBC’s Dragons’ Den. The company has been involved in enforcement work both in the UK and around the world.
The panel will be chaired by John Coldham a design law expert at Wragge Lawrence Graham & Co, where the discussion will be held at their South Bank office on 24 September 2015 during London Design Week. The firm is a UK-headquartered international law practice, delivering sector focused, commercial advice to clients worldwide.
Their award winning IP team advises on a full range of IPRs issues. In January 2016, Wragge Lawrence Graham & Co will combine with leading Canadian law firm Gowlings, to create Gowling WLG, a combination that is particularly exciting for IP as it brings together two of the world’s leading practices in the field.
Registration is from 4:00pm with the formal session starting at 4:30pm. The panel discussion will be followed by a drinks reception hosted jointly by Wragge Lawrence Graham & Co and tangerine, bringing to a close tangerine’s celebration of its 25th anniversary.
All guests will also receive a copy of “tangerine: 25 insights into extraordinary innovation and design”, a book marking tangerine’s 25 year milestone.
For more information and to book your place click here
Tangerine: 25 insights into extraordinary innovation & design by Antonia Higgs is published by Carlton Publishing Group (RRP £30). CSD members can buy the book for a special price of £20 (including UK mainland delivery overseas costs available on request) using the promotional code in the members’ area of the CSD website. Offer is subject to availability and runs until 24th September 2015.
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Stuart Scott MCSD
Furniture Design
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Stuart Scott MCSD is a contemporary furniture designer who, drawing on more than 20 years of experience in the industry, set up his own business Stuart Scott Associates Ltd in 2011 offering the finest tailored furniture to the international market. Each piece designed by Stuart is executed to the highest standards and made in England by Master Craftsman using time honoured techniques. The brand has become a trailblazer in contemporary furniture design; its most recent success was the collaboration with Liberty of London offering an exclusive selection of Stuarts’ designs.
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Stuart’s furniture design career path began whilst he was studying on a foundation degree in Fine Art. His tutor noticed his talents with sculpture and 3D modelling and encouraged him to pursue this further. He went on to study Industrial Design at Ravensbourne College of Design and Communication, eventually specialising in furniture and related product design.
Stuart told TheDesigner: “It proved to be a good fit and I’ve worked in the industry ever since graduating over 20 years ago. Apart from it being my profession, it is also my hobby!”
After graduation Stuart was offered his first job, not in the UK but in the Middle East with established design consultancy Alssamoure Design Associates (now SMDA), he jumped at the opportunity to work abroad. Following this he moved to Paris working for Pierre Bonnefille, an interior design agency specialising in unique handmade furniture and wall murals for architectural projects.
In 1999 Stuart moved to London, originally working for Gensler he decided to concentrate more on luxury furniture and interiors which led him to work for Jonathan Reed and John Minshaw.
“I set up on my own 15 years ago and co-founded Somerville Scott and later in 2011 my own brand Stuart Scott Associates was born. We are now based in Wiltshire where we have a design studio, showroom and workshop making our pieces to order, in–house and selling worldwide.”
Stuart works across a range of products in an international arena and told TheDesigner about some of his most recent projects.
Constructor Chair
“We collaborated with a luxury brand in the construction industry. They wanted a chair designed to reflect an element of the building trade, so we came up with the ‘Constructor Chair’. Its skeletal frame achieved the desired aesthetic and exceeded the brief. Together with its bespoke saddlery seat, back and solid brass machine turned fixings it now forms an important part of our collection."
Fleure Sofa
Isabella Slipper Chair
Stuart designs and produces collections which are launched annually at Decorex Exhibiton in London. His collections combine quality and style to develop pieces that are practical and comfortable whilst maintaining a strong design edge. He explained some of the more challenging aspects of working in the furniture design industry.
“The overriding design challenge with every single piece is creating something that is both original but more importantly practical. You also need to be able to control costs as it needs to make money. Being true to our approach i.e. made to order by hand, signed and individually numbered doesn’t come cheap. These design challenges will always be there!”
Nicole Occasional Table
Tux Special Edition Chair
With the design industry being one of the most competitive, we asked Stuart to offer some words of advice to new graduates entering the sector.
“Any employer ideally wants experience, but it’s difficult if you’ve just stepped out of University. My advice is go and see people with a clear and concise goal together with your portfolio. Target and research who you want to work with. Don’t email, either write or call, and always check your spelling in any letter of introduction. Persistence is key but be respectful and recognise when no means no!”
Having joined the Society in 1999 Stuart takes pride in his CSD membership, “It’s important to represent and be represented by your professional body. It’s an industry where you should take your professionalism seriously and be united under a common goal and code of conduct.”
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Graphic Design Visionaries
by Caroline Roberts
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Graphic Design Visionaries by Caroline Roberts is published by Laurence King. CSD members can buy the book with a special discount of 25% RRP £24.95 (including UK mainland delivery, overseas costs available on request) using the promotional code in the members’ area of the CSD website. Offer is subject to availability and runs until 10th September 2015.
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Featuring 75 of the world’s most influential designers, this book presents a story of graphic design told by those who have shaped the field.
Difficult as it is to overlap these designers work into a truly chronological order the book manages to achieve a timeline of not only their graphic outputs but also of the individual designers’ careers. The images are in themselves a joy to view spanning the greater part of the 20th century and on into the first decade of the 21st century providing a visual communication record of international social, technological and political change over some 70 years or more.
In these pages you will see graphic designers exploring, deconstructing and constructing type, challenging convention, conveying emotion, telling stories and imparting information as well as entertaining us whilst at the same time clearly grappling, stretching and expressing their own individual creativity.
The career timelines make for fascinating reading and study not just of the designers themselves, where they worked, studied, taught, but also how their careers overlapped and what influences shaped their own particular approach.
Flipping through the pages of this book is like flipping through a family photo album of the Chartered Society of Designers with so many familiar names and faces.
Abram Games FSIA appears early on in the book alongside his iconic WWII and Festival of Britain images only to be followed by a FHK Henrion FSIAD (a past President) and images including his Four Hands D-Day poster from 1944.
Saul Bass, pictured alongside his iconic Anatomy of a Murder poster, and Milton Glaser pictured next to his equally iconic psychedelic Dylan poster are welcome reminders of the long list of CSD Minerva Medal winners over the years and the stature of the recipients.
Following on in the next pages the Battle of Britain stamp issue for Royal Mail and designed by David Gentleman FCSD can be admired however his time line omits the fact that he was awarded the Prince Philip Designers Prize in 2007 as the CSD nominee. This accolade is however recorded in Derek Birdsall’s FCSD time line for 2005 which appears next to images of his typographic work for the Book of Common Worship.
There are references in the pages showing the work of Pentagram to Mervyn Kurlansky FCSD and Ken Grange FCSD and the work of Milner Gray FSIA and Misha Black FSIA , founding members and past Presidents of the Society, is featured in the section identifying the Design Research Unit as one of the 75 visionaries.
Alan Fletcher FCSD, himself a winner of the CSD Minerva Medal and Prince Philip Designers Prize in 1993 is featured as is his poster for Designers Saturday in 1992 which many members will recall. His timeline identifies 2001 as the year when The Art of Looking Sideways was published, a cornucopia of images, ideas, anecdotes and curiosities beautifully illustrated by Alan, a copy of which is awarded annually as the CSD Course Endorsement Programme student prize to each of the design courses on the programme.
This is a book that celebrates graphic design visionaries whilst at the same time bringing back memories.
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Events & CSD Offers
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Decorex International
20 - 23 September, Syon Park London
Decorex International is synonymous with luxury, and is internationally renowned for being THE event to discover the very best, and most coveted products from our unrivalled collection of 400 hand-selected exhibitors. With a rich heritage of 38 years, Decorex’s long standing reputation has proven the test of time; growing and evolving to remain exciting and innovative – and 2015 will be no different. Taking place at the start of the London Design Festival, Decorex will once again be held in the grounds of Syon House - the perfect backdrop for you to discover the future of luxury design.
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100% Design
23 - 26 September, Olympia London
100% Design is the largest and longest running contemporary design event for industry professionals in the UK, with 28,534 visitors in 2014*. First staged in 1995, the show has been run by leading independent publishing and events company Media 10 since 2012
Tent London and Super Brands London
24 - 27 September
The seventh edition was described as the most creative event in the design calendar. Together, Tent London and Super Brands London surpassed all visitor expectations with an overwhelming response to the calibre of exhibitors, surrounding gallery events, show features and much more.
Plasa Show
4 - 6 October, ExCel London
PLASA Show, now 35 years old, is the annual exhibition that connects the international live entertainment technology industry and ranks as one of the premier shows of its kind. It presents ground breaking technology and exciting new launches by the world's greatest designers and engineers to an international audience of pro audio, lighting, broadcast, AV and stage technology experts. Featuring focused hubs for networking and product demos on the show floor for audio, broadcast, lighting, AV and staging each with its own sector specific seminar stream this is a show not to be missed.
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