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Internships are long running job interviews. No matter how casual the culture, always remain respectful and impeccably mannered. Be nice. Resist snide remarks about former bosses / teachers or colleagues. You don’t want to become a quotable quote in a small industry. Have an ABN. This makes you flexible, adaptable and ready to work. It’s a straight forward process; simply go to ato.gov.au/businesses and apply for an ABN, which allows you to invoice clients directly. Hand out business cards. You’re introduced to the creative director of your favourite design studio and you have nailed your elevator pitch. Before parting ways, they ask for your card and you sheepishly suggest they Google you. Just as builders’ houses are never finished, graphic designers are often so busy developing everyone else’s brands that they neglect their own. Have a business card and hand it out. This portable little piece of marketing technology makes you look professional and can be a ticket into your dream job.

Make something and deliver or post it to the creative director. If you’re pitching yourself as a print designer, then it’s a good idea to think beyond online portfolios and emailed introductions. Create a direct mail piece that puts a sample of your work in a potential employer’s hand and you are already distinguishing yourself from a crowded marketplace (and showing a fundamental grasp of functional design). Hand-delivery is an opportunist’s chance to make a cameo appearance! Have a professional portfolio with “real world” examples. You might be attached to the watercolour suite of portraits you did of your cat at uni but you are making it hard for potential employers to see your value if you include examples like this in your portfolio. They want to see some promise in your examples of a style that they can build on. Include 8 to 12 examples of projects that are relevant to the businesses you are approaching. Start strong and finish strong (don’t let your portfolio dwindle down to the least exciting pieces). Research the company’s website and online presence, then tweak your portfolio to include examples of a similar style. No relevant examples? Make some. You’re a designer, that’s what you do.

Only boring people become bored. If you are bored at work or during your internship, then the onus is on you to turn that around. There’s more to this than just asking for more work. Go find the work. Reorganise cupboards, go through the design books and earmark styles that might suit a job they are working on. Think you’ve done your best with a delegated design job? Try doing it again, four different ways. That should keep you occupied. Think before you email. Digital etiquette can be a minefield, but it pays to master some of the basics. Firstly, “G’day mate” or “Hello there” are not the best ways to begin an introduction. A little bit of research will uncover the person’s name you are addressing, which is a more professional beginning. Have an email signature and include your mobile number on your CV - after all the idea is to get a phone-call, right?

Make it easy to like (and remember) you. Attach a PDF version of your portfolio to your introductory email. Websites can be forgotten but an email can be easily filed and referred to a year down the track. Oh... and you’re a designer, so you should know that files over 5MB aren’t going to get through easily. Network your skills. Involve yourself in the industry, attend functions (Go Font Yourself, Semi-Permanent, Junior drinks, Justus Magazine networking events) and build contacts. Keep yourself top of mind by touching base with your contacts (studios or agencies) every six months or so with a friendly update email. Inform yourself. Subscribe to industry magazines. Read industry blogs such as Junior; an Australian blog for new entrants to the creative industry - lifeatthebottom. com. Watch podcasts that will help you build skills - Lynda.com and Adobe Creative Suite Video Podcasts for software training. Rookie Designer - rookiedesigner.com for practical advice for when you are just starting out.

Learn about timing - fast. For many designers, their first job is a crash course in deadlines, short turnarounds and timesheets. Unlike college, where you had weeks to perfect your projects, studio life often means you need to be able to present ideas quickly and execute them with an eye on the clock. Start training yourself for this now because it takes some practice. Plan a deadline for a task before you begin and set alarms on your computer that chimes every hour so that you stay mindful of how long you are taking to reach completion.

Take every opportunity to ask questions. Ego is a real thing, and nothing flatters it like the right questions. Help your interviewer or boss to like you by appearing interested, clever and keen. Walk into an interview with at least five well considered questions. You might think your kicks are cool... You may assume that you’re familiar with what kind of culture the studio you are entering encourages, but it’s best to play it conservative (at least for the job interview) and look professional. It instils the impression that you know the importance of scrubbing up when it counts. When a potential employer is trying to picture you dealing with their clients, this helps tremendously.

i am page 018 » bj ball ~ brown kraft . 70 gsm / printed by southern colour ~ cmyk / foiled by goldcraft ~ crown champagne 100f-260


Billy blue Alumni community

~ the small caps intership program ~ the family that looks after its own, now that you are one of us, you can secure an internship from the inside.

sarita walsh This is an extract from the Billy Blue ‘More Volume’ graduate exhibit. To see and hear more visit morevolume.com.au.

new south wales happy end designs » camperdown info@happyenddesigns.com ~ us sydney » east redfern louish@ussydney.com ~ spacelab design » rushcutters bay studio@leuverdesign.com.au ~ leading hand design » surry hills jamie@leadinghand.com.au ~ nice idea » surry hills enquiries@niceidea.com.au ~ stop.edit » surry hills lee@stopedit.com.au ~ walterwakefield » surry hills jaimywalter@walterwakefield.com.au

When I first arrived in Australia from Thailand to study at Billy Blue, I had a hard time fully imagining the bigger picture of how design would incorporate itself into my life. With no prior involvement in the design industry, it was difficult to appreciate what shape my career would take. Despite not having any clear goals at the time, I made it my aim to fully grasp the different concepts presented to me in my studies, whilst continuing to explore the different facets of art and design in my free time. After speaking to different designers and alumni, I assumed that finding a job straight out of college would be a difficult task and was worried about the notion of sitting by idly, unable to put my career in motion. However, I was extremely lucky to have won a few awards close to my graduation and this created a positive momentum filled with opportunities where, much to my surprise, employers were seeking me out instead of the other way around. I owe much to Leanne, Billy Blue’s industry liaison coordinator. She introduced me to Glen Barry, who at the time held the creative director position at IdeaWorks.

agency, I was designated a specific portion of a project for which I was responsible (this is not to say that it is easier overseeing a certain section, as the amount of development required for those portions is quite substantial). Another aspect which had not entered my mind was all the different roles available within each studio (e.g. creative director, copywriter, illustrator, finished artist, strategist, etc). This was particularly enlightening, as it revealed to me the variety of possibilities which were available to explore and grow into. All in all, the experiences that I have worked through have been extremely interesting and I am continuing to set myself new challenges so that I never become complacent. I look forward to learning more, not only about graphic design, but about design in general, so that I can branch out into different areas in the future. www.behance.net/saritawalsh or www.billyblue.edu.au or www.cargocollective.com/saritawalsh

victoria hybrid expression » ivanhoe design@hybridexpression.com.au ~ büro north » melbourne info@buronorth.com ~ elmwood design » south melbourne recruitment.melbourne@elmwood.com

south australia parallax design » adelaide hello@parallaxdesign.com.au

queensland r & b creative » burleigh heads jobs@randb.com.au

it revealed to me the variety of possibilities which were available to explore and grow into.

The idea of working in an advertising agency had never entered my mind and, as such, I was sceptical and wondered whether I should pursue my original goal of working in a boutique agency creating intricate designs. But I realised that there existed an endless array of applications for design and that I should not box myself into any one category. With a wonderful opportunity presented before me, I realised that aside from creating beautifully crafted works of art, it was equally important to explore new perspectives and learn new skills in order to discover my specific passion. One strong point of difference between my studies and my design career was my involvement in projects. Whilst studying, I was very hands-on with my designs which included research, concept design, design development, finished art and printing. Whereas working in a large

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i am page 026 Âť bj ball ~ stardream {serpentine} 120 gsm / printed by southern colour ~ cmyk + pms 877 / foiled by goldcraft ~ crown pearl tinted green 550


arumsans

Released by Australian Type Foundry Designed by Wayne Thompson Released in 2009 Weights Light, Regular, Bold, Extra Bold, Black + Italic of each Buy at atf.com.au/1/retail-typefaces/arumsans

Meticulously planned and designed over a 15-month period between 2008 and 2009, ArumSans is “a humanist sans-serif family that displays subtle influences of the edged writing tool”. Designed at the Australian Type Foundry in Newcastle by owner, Wayne Thompson, who was inspired by the charismatic modernity of Chaparral (Carol Twombly) and Enigma (Jeremy Tankard). Thompson “admired the sense of modernity which came out of that very low, flat horizontal bar, and the way it curved abruptly into the bowl.” Once perfected, the results were a legible typeface, as fresh and head-clearing as a dawn surf at Merewether beach. It was an entrant in the 2009 Type Director’s Club Typeface Design Competition. Why did you design ArumSans? wt: I wanted to create a uniquely recognisable sans-serif family, suitable for continuous text use. Very few (if any) Australians have done this before and I feel there is a need to make an Australian contribution to the text genre of type design. I also wanted to gain experience in developing Opentype families for designers who are serious about their typography. This is the reason why ArumSans contains a large range of weights and Opentype features true-drawn small caps, European language support, and lowercase numerals. What do you believe would be the perfect application for ArumSans? wt: Perhaps an annual report or corporate documentation would be a suitable application. It’s always nice to see your fonts used in unusual or surprising ways, perhaps in a corporate identity. But this typeface has quite a squarish, serious appearance - it’s not a playful or happy typeface. I think it would be suitable for long document setting. In 2009, ArumSans was used in a book about irrigation practices to great effect. What was the greatest challenge for you in terms of perfecting this typeface? wt: I find weight distribution to be a huge challenge: the art of gaining an even distance between the weights so they are not too different or too similar. Aside from that, another big challenge was simply finding the time to complete it, in between corporate commissions. Most designers don’t realise just how much work goes into a text family, most of which is not design but technical work, including hundreds of hours spent working on metrics, kerning, hinting and testing.

Arum Sans Family

Arum Sans Light ABDCEFG

Arum Sans Extra Bold AB

Arum Sans Light Italic ABDCEF

Arum Sans Extra Bold Italic

Arum Sans Regular ABDC

Arum Sans Black ABDCE

Arum Sans Bold ABDCEFG

Arum Sans Black Italic ABD

ABCDEabcde12345&{%}@#

i am page 027 » bj ball ~ stardream {serpentine} 120 gsm / printed by southern colour ~ cmyk + pms 877


NORTHERN EXPOSURE Location Melbourne, Victoria Year established 2004 Founded by Soren Luckins { Creative Director } Size of team 13 Staff Website buronorth.com

Heritage ~ How was your business formed? By investing time, vast amounts of effort and care into building something worthwhile. Ethos ~ Does your business have a design philosophy? I don’t have an underpinning philosophy that defines or guides the work, I believe multidisciplinary design provides much more opportunity for creative innovation and leads to better design outcomes. Aesthetic ~ How would you describe your design style? I’ve very deliberately avoided a consistent style because I think all good design must be context specific. We don’t do the same thing twice therefore every client and brief is unique, which leads to very different stylistic outcomes. The only common thread in our work is that it’s all exceptional. Market ~ What sort of industries / clients do you work with? Brave and committed clients that work in industry sectors including government, corporate, cultural and educational such as architects, developers and schools. Challenge ~ Describe a challenging print project you have worked on? ‘The Reserve’ brochure that we did for The Silver Property Group. Creating a cover from screen-printed timber veneer (that continually buckled and distorted) was a nightmare. We ended up laminating about 12 sheets of paper stock together and then blind embossed them to create the same level of depth and texture that the timber gave us but without the dramas. It ended up truly beautiful. Community ~ What relationships do you value most in our industry? Collaborative relationships. We like to engage clients and collaborators in an open and communicative design process in which context is explored, assumption challenged and the ramifications of a project (beyond its intended purpose) are considered. Spruiker ~ How do you advertise your business and latest projects? We don’t tend to. If people find us, and engage us, it means they have real confidence in the Büro North brand and we don’t have to prove ourselves to them, or sell our capability. Great design offers both our clients and our team the satisfaction of results.

way to receive public and peer recognition and build on our position as innovative leaders within our field of design. Awards are also an opportunity to market our designs and Büro North, exposing us to a wider audience and of course, the night itself is a great chance to network and catch up with industry peers. Passion ~ What do you love most about the work you do? Seeing my ideas developed into something better than what I’d imagined by the incredibly talented team. That’s what excites me - when the team push me and I push them to create really outstanding work. When I walk into the studio and see something brilliant, it makes my day.

That’s what excites me - when the team push me and I push them to create really outstanding work. Change ~ Do you think the rise of online threatens print design? No. It’ll just cut out the crap. The cream rises to the top and the rest disappears. Provenance ~ What does Australian print design have to offer the world? Innovation. We don’t have the heritage to hold us back that the UK and Europe have. Hope ~ What would you like to see more of in the industry? Truth and less bullshit. Counsel ~ What advice would you pass on to industry juniors? Work hard. Look around. Travel and experience life outside design. Dreams ~ What’s your ideal graphic design project? A Formula 1 team branding, including race car livery, all the collateral, uniforms and helmets. It would merge my two passions. That, or an Americas Cup Yachting team full design outcome.

Achievement ~ Do you enter awards? Do you think they are valuable? Yes and yes. Büro North actively engages with award programs both in Australia and overseas. It is a great

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silver property group the reserve ~ We developed the branding, marketing, web, adverts and signage for ‘The Reserve’ - a boutique, luxury residential development in Malvern. Through collaboration with the client and Jackson Clements Burrows, Büro North created a special and unique story for the address on Elizabeth Street. The design concentrates on a strong use of pattern, typography and imagery to emphasise the brands exclusive offer and to stamp a solid place for the development in a flooded marketplace. specifications qty size print finish cover stock text stock

50 290mm x 220mm cmyk + 1 pms Letterpress BJ Ball Via Vellum Kraft ~ 432 gsm { BJ Ball ~ featured on pages 6 - 9 } + Cambric Linen Greenbriar { KW Doggett ~ Featured on page 129 } KW Doggett Hanno Silk ~ 150 gsm { KW Doggett ~ Featured on page 129 } + Mohawk Expression Lotus ~ 104 gsm

printer finisher font usage

Bambra Press Chapel Press Gotham

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stable properties triptych penthouse brochure ~ Triptych is a premier boutique apartment address located in the heart of Melbourne’s arts and entertainment precinct. Comprising of both affordable and high-end luxury living options, Büro North was engaged to create a brochure that communicated the luxury of the newly available and exclusive Triptych Penthouse apartments. The penthouse brochure was to be used as a sales tool for both the local and international markets, and therefore inherently needed to reflect the rich values of the building and the luxury of the penthouse collection through tone, imagery and overall design. To reflect the high quality penthouse apartments in print, we took inspiration from the use of colour and glass throughout the building’s architecture. The intensely reflective nature of the building served as the inspiration for the print specifications. The final specification and result was achieved via a UV overprinting four colour process onto a heavyweight artboard, that had a full coverage of mirror silver foil. The resulting effect is a shimmering metallic finish, that allows the colours to morph and change depending on what light and angle the publication is viewed from. The text pages were printed using four colour process onto Hanno Silk, and sealed with matt satin varnish, to further evoke the feeling of luxury and quality, and to enhance the treatment of the images. As with all property publications and sales tools, the floorplans are an integral and extremely important component. In the case of the Triptych brochure, rather than trying to hide these within the text pages, we decided to celebrate the plan, and utilised a super light weight Alpine cast coated stock to our advantage. The stock (which is reminscent of stock used in large format architectural plan prints) was inserted as sequential tip-ins, glossy side out, and uncoated side in. Due to their thin nature we were also able to gatefold these, which allows the viewer to see the plans at twice the size of a regular publication layout. specifications qty size print finish cover stock text stock foldout stock

500 340mm x 250mm cmyk + overall varnish Gloss Laminate outer cover + PUR Bound + Silver Foil on outer cover 310 gsm artboard KW Doggett Hanno Silk { KW Doggett ~ featured on page 129 } Dalon Alpine Cast Coated 1 / s ~ 85 gsm { Spicers Papers ~ featured on page 129 }

printer finisher font usage

Bambra Press Bambra Press Custom designed typeface + Akkurat + Americana

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periphery projects agnes ~ A new and exclusive development by Periphery Projects with renowned Architects Jackson Clements Burrows demanded a highly crafted and bespoke brand identity. The new four residence development in East Melbourne takes architectural cues from the surrounding heritage facades with unique iron screening. Likewise, our identity incorporates classic ornamentation and twists it to create a bold and modern brand mark. The brochure features an intriguing laser cut pattern, again referencing the facade screens and the surrounding Victorian lacework. Once inside, the wide pages are broken up by ethereal photography printed on translucent interleaves. specifications qty size print finish cover stock text stock

1,000 420mm x 190mm cmyk + overall varnish Black Cheesecloth Bound + Matt Celloglase + Spot UV on outer covers KW Doggett Knight Smooth ~ 350 gsm { KW Doggett ~ featured on page 129 } KW Doggett Knight Smooth ~ 200 gsm { KW Doggett ~ featured on page 129 } + KW Doggett Curious Translucent ~ 180 gsm { KW Doggett ~ featured on page 129 }

printer finisher font usage

Bambra Press Bambra Press Gravur + Perpetua

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Justus Magazine >> Issue 01