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I would show my my jobs to my mother, and she would always say the same thing: “That’s nice dear.” And then she would say, “Did you write it?” or “Did you do the drawing?” or “Did you take the pictures?” I’d always answer “no,” then I realized the problem. My answer was then, “I made this happen. It’s called design.”

Brian Webb


WELCOME TO THE FOURTH ISSUE OF AMPERSAND MAGAZINE, A SHOWCASE OF SOME OF THE FRESHEST CREATIVE TALENT FROM AROUND THE WORLD.... Well this month has been nothing if not eventful! Ups and downs all over the place; new full time jobs, juggling freelance work, the whole issue being lost two days before release - and the back up copies being corrupted. But it is all sent to try us! We have really worked hard to get this issue out, and we know we say it every month but this truly has been the hardest month to get together and put Ampersand 04 together. We have got a few bits of exciting things happening, (which reminds us to get in contact with a few people!) and hopefully you may see Ampersand evolve a bit over the next few months for the better! Again, last Issue we offered a downloadable version for mobile devices and we would like to thank those that actually paid for a downloadable copy of Ampersand, because of you fabulous people we can actually announce that from now on each issue will have the new price of just £1! (roughly $1.50/€1.30) We think that for this price to own your own copy of Ampersand to keep on your brand new iPhone 4s, iPad or Android based mobile do-hickey! Well, onwards into issue four now, and don’t forget if you want to get involved and showcase your work in Ampersand, you will find all the links on the back page! Ampersand Team

FROM THE DESK OF THE EDITOR WITH LOVE... Now let me put this into context, I sat with my a few of my students today looking at concepts which could help them further their current project, when we clicked over to www. - a site I regularly use and peruse to see new exciting designers and design work. We sat there and looked at one design, and we all came to the same conclusion. Over the duration of this post you’ll hopefully understand our reaction to it and why it created such a strong sense of feeling amongst us - so sorry if this is really long winded, but please try and stick with it. The design which caused so much reaction was a simple redesign of an ice cream brand. The brand in question was ‘Mr Creemy’ a localised brand of ice cream usually only available in Wales and the redesign was handled by a ‘design’ agency from the Welsh capital Cardiff. Now; before I go any further, you can go read the post at the dieline before reading mine if you want, just to make sure I’m giving you the chance to be objective: www.thedieline. com/blog/2010/11/19/before-after-sub-zero. html Back to my original question, creative design, why bother? Whilst reading through the post at the Dieline we all started to get annoyed at the blatant ‘inspiration’ that has obviously informed the design process here. So annoyed, the question of why are they even bothering to learn to be creative and individual when

this sort of design can win awards was risen. The fact that this design has won an award we all felt sickened by. Yes, it is a nice slick design, much more modern than the previous packaging, but really? It won an award? (and no it wasn’t an award for most blatant ‘lifts’ from other designs) The fact that we could all sit down and name at least half a dozen different products it riffed on is testament to not only my students observations in graphic design (which was slightly reassuring as their tutor!) but the fact that the agency have obviously not thought about the exposure such an award would bring to the product. Kevin Jenkins, Chief ice cream maker said, ‘I couldn’t have asked for more from them They have created a completely new brand, which is vibrant and imaginative. Their approach is always full of personality which is why they’ve been able to capture everything that Subzero is about.’” Now I have to admit, I have somewhat experience in this field which is why I feel that I can pass comment. Whilst working as a graphic designer, I too worked on a brand of ice cream only available in Wales, which had a rich heritage, but wanted a modern twist, without compromising and neglecting their history. They were incredibly demanding clients, but we all worked really hard to ensure that we captured everything they were about. Now when you reflect on the statement from Kevin Jenkins, take a moment, try and consider what ‘Subzero’ is about….. Typography? Black? Waitrose? Simple? First off, my students thought it was a beauty brand, a bit like Lush, someone else pointed out it looked like Gu puddings, another said it was like EAT. and another championed the similarities of it to the Waitrose range of food. You see as disgusted as I was when first faced with this design, the true annoyance I had was when we opened up the ‘exciting and creative’ website. Now a picture says a hundred words, so look at the homepage

and play count the rip offs……It defies explanation. If all this sounds a bit harsh for something so insignificant, well you might have missed the point. Its not the blatent rip offs that disappoint me within this design, it is the fact that a ‘well-known’ design consultancy has so clearly been quite uncreative with a design but yet it has been positioned into being able to be referred to an award winning packaging design. What message does this send to the next generation of designers such as the ones I am working with? I try to push every single one of my students to be as creative and individualistic as they possibly can, whether it is creating their own typography, their own photography and most specifically not to make their work look like something else. Then they see something like this that makes them despondent. It isn’t forward thinking, it is not exciting and it most definitely isn’t ’21st century’. This is a case of someone liking a style and positioning it to the client, the client should always come first, and never be asked to compromise the integrity of their product, whether directly or indirectly. I just feel sorry for really creative designers and students that can either not get into design consultancies, or will be asked to compromise their creativity for the sake of the ‘house

style’. At a time when designs like this are ‘award winning’ I really fear for the creative industry, because consultancies like this will continue to diminish the creative pool, as more companies are swayed by the label of ‘Award Winning Design Consultancy’ (again something that the boss of the consultancy I worked at used to labour to every new client, and it grated on me even then) Design and creativity should be measured in success and public reaction, and I would be very surprised that if this ‘rebrand’ would increase revenue sufficiently to label such a drastic change as ‘award winning’. So thank you if you have continued to read through this post, because I know it was long (and a bit of a rant!) but it really is an issue that really concerns me, as it appears this type of situation is becoming more and more of a regular occurrence. So i’ll finish by giving you some links so you can make your own decisions! Tweet us what you think! ampersand_mag

Having recently discovered Andy Needham, we here at Ampersand have been blown away his fantastic illustration work. He is way too talented for us to keep a secret - join us as we showcase some of Andy’s gorgeous work...

Lady Gaga


Amy Winehouse

Andy in his own words..... “I am a creative intellectual. Throughout life I strive to have knowledge in a diverse collection of subjects. I believe creativity and intelligence is an essential partnership to becoming successful in the world of design, so I try to maintain a well rounded knowledge in both academia and the arts. I like to immerse myself in a variety of subjects, from astronomy to zoology, and regularly divulge in popular culture, but also politics. I possess an array of abilities and idiosyncrasies. I’m obsessively organised, everything has its place. I have an endless capacity to learn about anything. My interests are constantly shifting on a weekly basis. I’m opinionated without being overbearing. I have an assassin gaze, critical and cautious, in which I analyse and assess everything: people, situations, design. A determined approach drives me to accomplish a task with one hundred percent execution and to a high standard.

I pay particular interest in ink and the more fluid forms of media. I have an obsession with fashion illustrations, David Downton and René Gruau being divine figures to me. Traditional illustration has a look and feel that no computer can compete with. It’s from the heart and mind of the creator; a piece of them. I do love some digital illustration, but for me it lacks soul. A pencil line or a paint stroke is unique, it’s like a fingerprint. It’s impossible to replicate this mark making technique on computer software. But I can understand that digital media is part of a never ending evolution, creating unexpected and infinite possibilities for artists, that are accessible to a wider population.”

Vivienne Westwood Fashion Illustration


ERIKA KELLY Words by Jamesy Photos by: Jack Alexander Photography

Erika Kelly is 18, and from a small island situated between Ireland and England, called, the Isle of Man. When she was 7 and had just joined her second primary school, Albert Road, she joined a small school folk group called, ‘Share Ny Veg’ (Manx for ‘Better Than Nothing’. Erika started off by playing a simple tin whistle, but it was one day when she spotted a small 12-string harp in the corner of the gym hall her interest was piqued.

stunning 41-string Pilgrim Progress Lever harp.” Erika tells that she tried to learn to read sheet music, but in her own words she; “failed miserably every time,” and ended up quitting violin lessons because her teacher would get frustrated with her not being able to read...

“To me, reading music was far too difficult, and I much preferred to sit and listen to something, and then just play it. I have a natural ear to just picking up tunes, and Erika tells that when her older whittling them off?!” sister ended up bringing the said harp home, and when Erika explains that she has no out of her sight, she would sit idea why she decided to start there and pluck away to her putting videos on YouTube. heart’s content. “I think it was just out of “I was able to work out simple boredom last summer! I was nursery rhymes in my head. pleased with the reaction A year later, I became the I got to my first video, so harpist of the group playing decided I’d make another simple chords to tunes, and so on. After much which were accompanied persuasion, 3 months ago I by violins, whistles, guitars, set up a Facebook page for people to come watch my banjos, keyboards, etc.” harp-playing” 5 years passed until after her is always quite constant badgering Erika’s Erika parents finally relented and humble when discussing her decided to invest in a harp for popularity, and this is part of her enormous charm. With her. her Facebook page heading to “They bought it off eBay!!! 6000 ‘likes’ and her videos on We got a boat to Liverpool, Youtube gaining thousands and took a long long drive of views, who could deny this to Wales to pick it up - a little unassuming girl playing

a somewhat ‘unfashionable’ instrument is something of a mini phenomenon. The band Two Door Cinema Club were so impressed with her cover of one of their songs they tweeted all their fans about it and Erika picks it out as her favourite piece she has played so far. “Undercover Martyn by Two Door Cinema Club! Is my favourite because it’s such a fun tune to play - you’re constantly having to think and coordinate your hands! There’s also the little fact that the band themselves saw it, and they ended up posting it on their Facebook wall, titling it “Two Door Harp Club” - it got 2000+ likes within minutes, and a fabulous response as the weeks passed by! When pressed about her future plans Erika states that her first EP is on its way, and she would love to work her way into producing music that gets used in television and film scores. With her recent appearance of British programme Come Dine With Me, playing the harp for one of the hosts at their dinner party, surely it can only be a matter of time until Erika Kelly gets the attention of record companies and she gets all the critical acclaim she deserves. Follow Erika Here:

Watch Erika Perform Here:

Photos by:


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A: For those who don’t know you Theo, A: What would you say your design style tell us about who you are and what you is? Has your style evolved whilst you have been at university? do? TC: I’ve been heavily inspired by vector pioneers like Jared Nickerson, Hydro74, Jonny Wan and other artists around the world. I love working with pretty much everything, from traditional mediums to my wacom pen, however I would say my prefered style is a heavily geometrically inspired style of working with shapes and simplism. But style A: Do you remember the first time you can often be limitation, experiment with felt that design was the career path you everything and you can just be a swiss army knife. wanted to take? TC: Hey all! I’m currently working as an independant Graphic Designer and Digital illustrator as well as studying my second year of my BA Hons Graphic Design Course at Havering College. We’ve had a few people featured in magazines before so I hope to continue the tradition!

TC: I remember the precise moment! Just before taking a school trip to China with my Mandarin class for work experience I picked up my first issue of Computer Arts, and read it cover to cover. I always wanted to create artwork for a living since I got into it at a young age, just never really knew the name or process of it. I was hooked after reading that issue and finding the online community, it still fuels my motivation today (with over 40 issues of Computer Arts on my shelf)

A: Who has been one person who has had a real influence on you, and your work?

TC: My major inspiration in the design world is the one and only Kate Moross, her whole work ethic, methodolgy, success and style just gives me hope as a student. Knowing that most of the commisssions for high profile companies she had received whilst studying at university was amazing, working on a billboard campaign for Cadburys of all people! She’s created work I see everywhere, yet A: With the current climate, and nowhere if you will. She’s never a one trick university places costing more then pony and works incredibly hard, so I only ever in the UK, do you feel that you are hope I can maintain that motivation! getting value from your university? What would you recommend people to A: What has been your favourite piece of look for when choosing a university? design you have worked on so far, what TC: Its never about what the university can makes it your favourite? offer you in my opinion, its what you can get out of it/offer to the university. There have been people from my small college (which offers courses of BA level, to the same quality as any other established university) that have gone on to work for major companyies like Arup and JC Decaux! To be honest, its not about value, its the fact that theres so much to learn and so many people to learn it with, why miss the oppourtunity?

TC: A recent piece I had done for my girlfriend around a few months ago completely spawned a new style for me, and since then I’ve been working on adapting and evolving the style. Recently I’ve been working on a set of regular (not quite daily) character illustrations I’ve just been sketching up in preparation for vector which I cannot wait to show the world. Character design has always been a major interest of mine.


You’re So Wise

A Brain Encased in Neon Glory

A: What direction would you like your career to take after you graduate - are you worried about the amount of opportunities on offer to newly graduated students? TC: I think everyone is worried about success no matter what level you’re at (except probably senior designers haha) but I have several directions I want to take, rather than a single road, I want to explore a maze of oppourtunites. My general interest is Illustration, for print, apparel, merchandise and editorial means, however I also love print layout, motion graphics, branding (a skill I would love to improve) and design for music. I think one major goal however is to get a character I decide to design made into a vinyl toy someday, I’m a junkie for collectables! A: If there was one person from the A: Finally, do you think that creative creative world you could sit down with talent is being lost due to the lack of ‘obvious’ opportunities on offer to and have a chat with who would it be? designers? What opportunities do you TC: If it had to be from “new” pracitioners, it think Ampersand could offer to other would be Alan Wardle, the king (in my eyes) new designers? of independent apparel brands and head of AnyForty. He’s a brilliant guy on twitter and TC: You don’t get anything from sitting in he works incredibly hard on EVERYTHING your studio with your head down, as Moross the company and brand has to offer, including had noted in an interview. Networking marketing, sales, screenprinting and even and online presence is helping graduates, postage by hand. He finds some of the best students and young designers with talent to artists to collaborate with on this apparel get recognised and gain those oppourtunities, works and to be part of that in the future you know someone, they know someone would be a massive honour. If I had to have that knows someone that can help you out! a talk with a well know practitioner it would Ampersand I think has a brilliant platform have to be either Neville Brody or Paula and is becoming an established magazine as Scher, their work is incredibly inspirational of late, for which I cannot wait to see what and I particularly love Brody’s work with they come up with next. As of opportunites I think potential clients would check out the Face Magazine. independent design scene and find the people they need for their projects, and Ampersand is only helping with that. Find out more from Theo at:

Gold Dust

Custom Ampersand By:

Custom Ampersand By:

The 4 Ampersands here are our favourite submitted . Tweet us or contact us via our website your favourite and they will win a prize!

Custom Ampersand By:

Custom Ampersand By Francesca Harris


DEBNEY We hope you are going to be just as excited as we were when New Zealander Jordan Debney and his amazingly crazy illustrations crossed our paths! Join us as we discover more about this fantastic illustrator and just actually what a ‘Quadricorn’ actually is...


A: Tell us about who you are Jordan and of the flesh and disfigurements of the visual what you do? appearance while incorporating things that are usually considered ‘positive’ and bright JD: Well I am a male human being, (self colors. I usually get mixed reactions from proclaimed) artist from New Zealand (it’s people when they see my art, they don’t know that tiny speck in the lower right hand of a whether to recoil in fright or give it a hug. generic map of the world). I have a great love Probably the only time a vomiting horned for monsters and all things repulsive, horror monster could ever be considered ‘beautiful’. movies and ice cream. I attempt to fuse all of A screaming monster riding the back of an ice those things into visually pleasing pieces of cream is so ironic that it’s comical. artwork. A: Has there been one person who has A: Do you remember the first time you had a real influence on you, and your art felt that design was the career path you work? wanted to take? JD: There have been many people that JD: I have always enjoyed drawing as a have influenced my artwork, as well have child. I used to imitate drawings from comics experiences. I didn’t want to be one of those and the collectable ‘Dragon Ball Z’ cards all alcohol driven people that don’t end up through primary school and never actually doing anything with their life. I want to knew I could make a career out of it. Although succeed and be able to say I haven’t wasted I always knew I wanted to work with art, I my limited time on this earth. So I went with just never knew how. Enough drawing kind the one thing I knew I could do, and that was of made a career of itself. The more I drew, the drawing. I look up to and admire the people better I got, the better I got, the more people I consider most creative. Trent Reznor for his started approaching me for artwork for their music, Zack Snyder for his movies, James Jean clothing line and album covers. Consider it a and Alex Pardee for their art. I can always growing entity that can’t stop feeding. know that whatever happens, I will always have the things that these people do most A: How would you describe your design creatively to keep me going. Seeing creativity style to our readers - and how would you fuels my creativity, and I have an unlimited describe your creative process? source of it. JD: I often find myself playing with mixtures of cornflour and water for hours, (you know, A: What has been your favourite piece how it goes really fluid-like as well as a solid). of art you have worked on so far, what I observe and concentrate on various parts makes it your favorite? the mixture as it flows down different shaped JD: That would have to be my ‘Quadricorn’ objects I find lying around. I do this for visual piece. (Shown to the right) What could be pleasure, as well as a creative study. I find it more awesome than a four horned horse with fascinating, as I try to share that fascination pincer hooves engulfed in gravity defying into my art work. It’s just a matter of making fluid?! it flow and work well. I like to focus on folds

Right: Quadricorn

A: Have you ever been asked to do a piece of work that you turned down? If you did - how did you approach this to the prospective client? JD: A few weeks ago I got asked to commission a shirt design that infuriated me. They asked for me to design them a shirt with a specific character from a specific artist. I responded suggesting that they ask the ACTUAL artist to design the shirt instead. Artists should be approached because they like their style and their art, not to imitate another artists style or characters. A: What advice would you give to other art and design students about how to develop their own creative style? JD: I’d suggest you first find your artistic medium and start from there. Each day just draw and draw and draw, you don’t even have to show anybody. Surround yourself with your favorite inspirations and artists you admire most. A style will eventually develop and your instinct will take it from there. A: With the current climate in the world, how has this affected the art and illustration industry in New Zealand? JD: The art industry in New Zealand is very small in comparison to other art industries, everyone seems to ‘know of’ everyone. Using the internet as a tool to get your art seen is very achievable, but that can only go so far when you live in such an isolated country as New Zealand. The ‘word of mouth’ usually doesn’t even leave the shores of New Zealand, so being spotted for exhibitions in other countries best contemporary galleries and magazines is limited to ‘accidentally’ being stumbled across over the internet or books, and not to mention even more pressure to make a decent impression. Haha, I hope this answer is relative to what you were asking. (It was aha! .Ed)

Left: Moon Bear

Left: Lactoserider; Right: Turmoil

A: If there was one person from the creative world you could sit down with and have a chat with who would it be? JD: Firstly it would have to be Alex Pardee. Secondly, it would be more of a food fight, dressed as original gangsters, with marshmallow shoes and Chewbacca masks. During the violent toss of the pizza we would be telling a horror story that would make Rob Zombie’s head explode. A: Finally, do you think that creative talent is being lost due to the lack of ‘obvious’ opportunities on offer to designers? What opportunities do you think Ampersand could offer to other new artists? JD: Yes indeed, and have discovered that it is very difficult to get your name into the art world, it will often require you to do work for free. You have to physically shove it into people’s faces and to do so making an impression that will be remembered. I’ve known of people with a huge amount of talent to just give up and do something that’s “easier”. So yes I do believe that talent is being lost and unseen. It’s just a matter of not giving up before the opportunities are available for you. Find out more from Jordan at:

No More Heroes Any More

Punk rock in the modern world; this is the young idea. Words by Daisy Lola Punk is a many layered onion. Actually, punk is pretty similar to an onion in that it can make you cry; most people either love it or they hate it; and it can’t really be subtle - when you put onions into food, they’re a really overwhelming taste and the dish suddenly becomes whatever it is, with onions. No matter what else is in it, onions are the prevailing taste, or so I find at least, and it’s the same with punk rock music and fashion, the very idea of anarchy embodied not as a political movement or a societal state of being but as a subculture, ever changing, ever growing, impossible to be ignored and more complex with each generational incarnation… Many layered, like an onion. Aside from a bitter, purple vegetable, what is punk, anyway? Historically punk relates to angry youth with safety pins through their cheeks singing songs about

the queen on boats and glassing innocent girls in pubs - but in our contemporary society, for those who avidly keep up with punk rock and all of its trends, trials and tribulations, the movement is so much more than the faded memory of when Lydon was called Rotten and Paul Weller’s head was full of “the young idea”; it’s not so much a lifestyle as a mindset, an inspiration sourced from a bunch of kids with little education, no respect and a lot of big ideas who just so happened to shake things up so much, they changed the course of music forever. Not only music, but popular culture, fashion, the way we perceive rebellion and, most importantly, the way kids see themselves. When I think of punk rock, the kids I know who listen to Cock Sparrer and stay up late into the night sewing patches on their clothes, who have the Black Flag bars inked wonkily onto the backs of their necks and plaster their walls with


blurry Ray Stevenson images ripped off from Google, I know I’m not thinking about kids with no direction - the Pistols snide, snarling drawl of “No future… For me!” is a thing of the past; nowadays the punks are really going somewhere and I think that makes the world of difference. Kids with mohawks, kids who know who Legs McNeil is, kids who’ll miss school on Fridays because their local band is playing in a city three hours away the night before, they’re not typically viewed as the ones who’ll go far. But here’s the thing - they are. We are. We’re the ones who know it’s okay to ask questions, who’ve got role models who went against the grain, challenged authority, made themselves unrecognisable to conventional society; and still came out kicking.

We learn by example and because we’ve seen our idols challenging what they’ve been told, so do we. If you want someone capable of running a country, look to a punk. If you want someone passionate enough to stand up in front of thousands, who’ll speak the truth without fear of societal ramification, look to a punk. If you want someone who loves with everything they’ve got and will give it a go no matter what; who’ll give their all and get right back up when life knocks them down, look to a punk. I believe that everyone who are living in the contemporary western society has something to learn from those snotty, spotty kids who ran amok, couldn’t play their instruments and spat their message of discontent in the faces of anyone willing to listen (and a lot who really, really weren’t).

Our heroes had no heroes themselves, so they fought on their own terms, decided they didn’t care that they didn’t have degrees, didn’t care that no-one believed in them and didn’t care that maybe just maybe they didn’t have a chance in hell… And somehow shook society right down to its boots anyway, somehow Punk rock teaches that, if you set your mind came out on top, somehow won. to it, you are capable of anything. Punk rock Punks are fighters. From old school punks tells its lovers to find their niche and run who saw it all in the 70s, to those who were with it - to speak and be heard, to grab life by in the van with Rollins, to kids like me whose the lapels and take it for everything it’s got; parents put on the Undertones as a child and always demand more, never accept the old made us want to get our own Teenage Kicks as order, question everything - and in the words soon as we could, to a thirteen year old who of the Sid Vicious Estate, “Don’t ever let them just discovered Green Day’s ‘Dookie’ and from take you ALIVE”. See, for punks, life may not there may ignite a lifelong fire in the soul always treat us well; we may face judgement of punk’s newest recruit, there’s something and criticism even within our own ranks; we may fuck up just like the rest of this beautiful inside of all of us that just refuses to give up. accident commonly known as humanity; but inspired by the music that makes our hearts race, our jaws twitch and our minds open, we always come out kicking.

Read more from Daisy at:

‘The Doctor is in..’ Buy a print here:


So, Anders you have been a great Do you remember the first time you felt supporter of Ampersand since the first that photography and cinematography issue, can you tell our readers about who could be a serious career for yourself? you are and what you do? Well, I think it was at the time when I had I am a last year cinematography student been studying for a while, maybe between from Finland. At the moment I am living in the second and third year. From the beginning the capital of Finland, Helsinki, which is the of my studies I knew that this career would best city in Finland when considering work not be a piece of cake. But at some point I opportunities in my field of business. After noticed that I had developed a lot and that having spent 21 years living on my parents’ my standard of work had become quite high, farm in the countryside, I felt that I wanted to and that in turn made me think that I would experience something new. have a chance of succeeding in this field. Ever since I was a child I have been fascinated about photography, beautiful images, and playing around with video cameras. I still remember when my parents bought me my first disposable camera. I was so thrilled about the fact that I now was able to capture moments. The sad thing, though, was that I ended up ruining all the photos, since I did not know how to deal with the camera and the film. I felt really bad about that because I never got the chance to see what I had captured. Even though I had a passion for photography already at an early age, it was no sooner than when I started thinking about what to study that I noticed that I wanted to work with images. My first years of my cinematography studies were incredibly interesting and motivating, and for the first time in my life I felt a strong passion for something in a way that I had never felt before. At the moment I am in the process of writing my bachelor thesis. Meanwhile I am working with different projects all related to still photography and motion picture. On my desk I have several manuscripts which are going to be turned into motion pictures in the short future. These include several music videos and an international short film. Lately I have also found concert photography rewarding, as it is a new genre for me to explore.

How would you describe your visual style and creative process? My visual style includes playing around with lighting, since it is one of the most important elements in photography for sure. With light you can create the atmosphere you want the audience to feel. But I am also a fan of wellcomposed geometrical compositions. There are endless of different ways to frame a shot, but with a little extra creative input you can get incredible, aesthetical images by using the elements that are already in the scene. I enjoy working in the creative field. However, it can be frustrating at times when your creative flow simply is not there. Working with visual aesthetics is always a battle with yourself; about what you want to create and whether what you are creating really is aesthetical or not. But at the same time I believe that these challenges are a part of what makes my field of work rewarding. One of the most important elements that keep me going is inspiration. On a regular basis I check out work by other professionals in order to remind myself that I am not quite there yet and to collect ideas for upcoming projects. When I start working on a new project I start by thinking of the idea. I do not force myself to come up with a great idea all at once. The ideas usually come to me while taking a shower, while on the way to the grocery store or while

Photographer: Anders LÜnnfeldt: Model: Kris Gummerus (with cigarette) Model: Pelle Heikkilä


sitting on the bus. I write down my ideas in my scrapbook and then I start developing them to a concept. When I plan, I always have in mind the ready product, meaning every step I need to take in the process to get the result I want. Usually planning is the biggest part, and then it is just to go out and do it. Has there been one person who has had a real influence on you, and your visual work? There has not been one, but many, mostly my colleagues. I have always been open to critique since that is one important element in developing yourself. I see how my colleagues work and I get inspired both by the way they work and by the result of their work. I think we can learn a lot just by keeping our eyes open.

Photographer: Anders Lรถnnfeldt Artist: (Previous Page, and both pages here) Petter (from Sweden)

What has been your favourite project so far that you have worked on/produced? I have worked on so many great projects during the last years so it is hard for me to say which of them has been the best. But one film production that I am sure that I will never forget and one that has made me develop the most was the short film The Insignificant Truth. It was a school production where we got the opportunity to work with film. We got a couple of 16mm rolls, and the task was to make a short film. This production was really crazy because our vision was really big and we were not sure whether we would be able to pull it off. But we still wanted to go for it, because we felt that this could end up to be something incredibly awesome. We had such a passion for the project. The days of shooting were some of the hardest days of work in my life, but afterwards it was worth it. I remember this one night when we had been shooting for the whole night and I was totally exhausted. I was going to shoot handheld and I had to ask the director to hold me so that I would have the strength to take the shot. Is it not weird that people in the film industry are so passionate about the project that they sometimes push themselves until they are really close to their breaking point?

Film: PARASOMNIA Director: Anders Lรถnnfeldt Cinematographer: Anders Lรถnnfeldt Link online:

Photographer: Anders Lönnfeldt “Flying Chair”

Photographer: Anders Lรถnnfeldt Artist: September (from Sweden)

Is it important to have a personal connection with the work you are doing? Would you turn down a project that you felt was not something you personally agreed with? I would like to answer that I only accept and work with projects that I feel a personal connection to, but at the end of the day, this is still how I make my living. So of course there are sometimes projects that I am not that passionate about. But I try to keep in mind that there is always something to learn from every project, even if it might not seem so at the time. At least I become more secure with my professional role after every production. And to answer the second question, I would not participate in a project dealing with something that I felt really strongly against.

Photographer: Anders Lรถnnfeldt Band: Gina Artist: Regina

Photographer: Anders Lรถnnfeldt Model: Karin Kullberg

Photographer: Anders Lönnfeldt Model: Albert Häggblom

should be able to take photographs that need minimal adjustments? This is a really difficult question which I do not have a simple answer to. But what I can say is that photos should not be compared to reality. They are images, even if they can look very natural. The extent of how much Photoshop you use always goes hand in hand with the kind of image you are producing. Some photos need more “photoshopping”, some less. I think that every photo you take, however, needs to go through Photoshop. No matter how good you light the shot, afterwards you always need to do a basic light correction in the image software. With Photoshop today you can basically do whatever you can come up with. Like with everything else in life, we just need to think about what is morally right and wrong to do.

What sort of motion picture projects have you undertaken and how does this fit in with your photographic work? Do you see more of a career in this - or do you think that it is something you will work It seems that everyone who has an SLR on alongside your photographic work? these days instantly regards themselves as a photographer - do you think that Well, since cinematography is what I it has a detrimental effect on other have studied, I have always felt that this is something I want to be more involved with photographers and their work? than photography. But I would not want I am quite familiar with this phenomenon. to choose the one over the other, since I One negative thing about this is that some find both fields interesting. And there are so potential clients do not understand the many similarities between photography and process behind good photos, and because cinematography; both fields share the same of that they do not respect the work of a way of thinking with lighting, composition, professional photographer. But this is just colors etc. Moreover, photography has something we photographers need to discuss helped me to develop myself in the field of with our clients. Except from this, I do not cinematography. To be able to succeed in the really see this phenomenon as a problem. media business, it is an advantage to have The advantage photographers have is that knowledge in more than one field. Except they have the knowledge it takes to produce from photography and cinematography I am also into motion graphics and the whole a photo of great quality. post production process of video. During the Where do you stand on the debate of last couple of years I have worked on several ‘touching up’ photos or ‘photoshopping’ short films, commercials, and music videos. In them in general? Can these techniques these productions I have for example worked enhance photography in a positive way with cinematography, lighting, sound design, or do you think a ‘good’ photographer directing, visual effects etc.

If there was one person from the creative world you could sit down with and have a chat with who would it be? This is a well-timed question. I am currently working on my bachelor thesis about visual aesthetics in film, and for that thesis I would really like to sit down with the cinematographer Anthony Dod Mantle to talk about his incredible visual work. I think his work in the movie Slumdog Millionaire was really something of a kind, and I am probably not the only one to think so since he won an Oscar for Best Achievement in Cinematography in 2008.

Film: The Insignificant Truth Director: Kenneth Klaile Cinematographer: Anders LĂśnnfeldt Link online:

of view. But of course, if you are offered an opportunity you can get a kick out of it and more easily get into the creative mood as a result of that. I like the way Ampersand is now, that is showing the work of creative artists in a stylish online magazine the way the work is without having any restrictions regarding theme or genre. Since Ampersand is an online magazine it could make use of all the features possible for an online magazine. I have for Since I do not have an iPhone myself, I have example seen videos and other interactive not really used those apps at all. But my friends solutions in a similar online magazine, which play around with them all the time. I really I thought was innovative. like the idea and I would probably use them if I had an iPhone. They give a nice feeling to Anders is most certainly one of the most photos without any extra work. But I would talented young creatives that we have not use these apps for anything more serious interviewed so far, and is most definitely a than for capturing memories. To achieve name that everyone will becoming more the same look in potential professional familiar with sooner rather than later! He is projects, I would rather choose to shoot with fantastically talented and whether his future Lomography film, a Lomography camera or lies in cinema or in photography we are just with Impossible film (aka polaroid), which I glad to interview him before he hits the big have played around with quite a lot. time! We have a lovely iPhone and are totally in love with the Instagram and Hipstamatic photographic apps, they bring a fantastic sense of fun to taking photos - how as a photographer do you feel about apps like this? Is there the scope for them to be used by professional photographers for projects or collections?

Finally, do you think that creative talent is being lost due to the lack of ‘obvious’ opportunities on offer to designers and photographers? What opportunities do you think Ampersand could offer to other new artists?

We all here at Ampersand would just like to thank Anders for such a fantastic feature and taking some time from his busy schedule to give us an interview. Find out more from Anders at:

I believe that if you are a creative talent you can create your own projects. That is one part of what it means to be creative, in my point

Photographer: Anders Lรถnnfeldt Model: Ellinor Jansson


Poorly Drawn Things was born July 2010 out of a small black moleskine labeled The Small Book of Poorly Drawn Things. Detailing the tumultuous inner life of Penny, Poorly Drawn Things has grown from tiny bic and sharpie pen sketches to large watercolors and beyond. Penny’s obsessions and paranoias include death,fear, religion, childhood, panic, and mental illness.

Find out more about Penny & her wonderful illustrations & Penny’s Etsy shop:


Sandere Graphic Designer and Illustrator •Amsterdam

So, What a fantastic name Hyshil! Can you tell our readers about who you are and what you do? Thank you! I’m a Dutch, 28 year old graphic designer and illustrator with black hair from Amsterdam where I live with my German husband and half-German daughter. I was born in Seoul, South-Korea which looks cool on my passport, but was adopted when I was a baby and now I’m taller as planned. (haha!)

cliché or forced. There is a fine line between when the design becomes too much or too minimal and I always try to keep an eye on that.

My overall creative process (I’m talking about my drawings now) involves a lot of thinking. I don’t enjoy sketching much. I want to try I work freelance, designing for magazines (at immediately and most drawings were made their offices) and illustrating from my own in one effort. Sometimes when an idea doesn’t studio space. work, I just stop and rethink. Do you remember the first time you felt I do collect articles, books, poetry, magazines that creative design was the career path etc. around me to fine tune a certain feeling you wanted to take? or idea. This way I usually come up with the right image or colours and it sometimes keeps Not really. My mother told me all children me on track. like to draw (why do we stop?) but with me it was pretty excessive. Everybody always I also like to listen to the same song over and assumed I’d go to art school, and I also never over during each drawing or project. really took any other option seriously. Has there been one person who has had a How would you describe your design real influence on you, and your art work? style to our readers - and how would you describe your creative process? In graphic design, there are quite some amazing art directors I’ve worked with and Everything I make, whether it’s designing a everybody teaches you something different, magazine or illustrating, is very feminine. but recently I’ve been thinking a lot about Tara van Munster, art director of Dutch ELLE. I In design I like it when there is dimension and always love working with her because there’s depth in the lay-out. Of course I like to play a nice back-and-forth between us and she sets with typography but without it becoming the bar high. Whenever I work somewhere else and I’ve finished something, I wonder what she would say. In art, I really try to focus on my own thoughts and ideas. But concept-wise I feel very influenced by artists like Elizabeth Peyton who really know how to make you look through their eyes. On a personal level, I’ve really learned to be open for anyone you meet. I try to find a way to connect with everyone and I’ve already been surprised so many times of what you can find there. It is truly enriching.

What has been your favourite piece of Is it important to have a personal art you have worked on so far, what connection with the work you are makes it your favourite? doing? As growth and development are really really Definitely! I always make a true effort to important to me, I usually like my latest work connect to anyone I work with. Or anyone I hang out with for that matter. You can miss so the best. Unless it sucks of course haha! much if you don’t. Right now it’s the drawing of a mirrored forest where you see two legs coming from under Would you turn down a project that you the trees. Behind my father’s house there are felt was not something you personally these huge, completely out of hand conifers. agreed with? And especially in winter, at night when you see the snow sparkle, I could feel so safe It’s not that black and white I think. I between them, even though they were huge sometimes do things that are not my personal and dark. taste, but I love working with the people

involved and still learn from them on another level. Staying in your comfort-zone is too easy I think. You have worked with some really high profile publications such as Elle, Cosmopolitan and Red - how did you come by working with them and did you enjoy it? I love magazines. I still spend an embarrassing amount of money on them and have always been very focused on getting to work there. I interned at a fashion magazine and after I graduated I started freelancing. This just rolled on. I got some great breaks and I guess I have the people who hired and helped me to thank for it. I do enjoy it still! I’m very happy with the variety of working in that world and drawing in my studio space. The nuances in between are what makes my it interesting. What advice would you give to other art and design students about how to develop their own creative style? I felt guilty about not being all over the typography and design books when I was studying. They intimidated me and I had no connection to them. I really needed the time to figure out what I like, step by step. This takes time and experimenting. Now that I know much better what I like, I’m ready to think Ampersand could offer to other let others inspire me and develop. If you don’t new artists? know what you prefer, all the other stuff is I don’t know... I’ve never looked at it that just distraction. Very similar to life. way. I never thought, why is there so little If there was one person from the opportunity for me? I always wonder what I creative world you could sit down with have to offer and work on that. and have a chat with who would it be? As for you… keep all the relationships in your Elizabeth Peyton and I would want to talk network natural and see what can grow from about her Napoleon book, which I love, LOVE! that. A book, an exhibition, a mutual project. As long as it has a true foundation with the Finally, do you think that creative ones involved, nothing bad can come from it! talent is being lost due to the lack of Find out more about Hyshil: ‘obvious’ opportunities on offer to designers? What opportunities do you


Andy McCormack is a graphic designer who over the next few issues is going to give you the low down on the trials and tribulations about getting a foothold in the industry.....

Not quite there yet‌.

I was recently asked what inspires me to design, that’s kind of a hard question to answer really. I can however answer it in two different ways if I slightly re-arrange the sentence.

from. I majored in Marketing and advertising but later found my own personal love for creating books. I love that feeling you get when you hold something in your hand that you created, I guess its like holding a child except you actually did more to If I follow the original make it than just wait around question then my answer to for it to show up. what actually inspires me to design is mainly fear and love. However if I answer the I fear that if I don’t continue question slightly differently, to design, to continue to learn what is my inspiration for new techniques then I will my designs it’s a completely fall behind and be forgotten, different ball game. not that I’m in a light to be remembered anyway. A lot of my influence comes from games, the artwork I’m always worried that I itself is just mind blowing. will pass through life and not I find that computer games leave my “mark”, that I would introduce me to design of learned my trade and never aspects that I may have been use it. I also fear that if I don’t oblivious too before. I gained keep pushing forward and try my complete obsession to design and try to get a job with 1940/50’s design from I will have failed everyone Bioshock and Fallout, the who ever encouraged me, use of that particular era’s loved me, believed in me. style just blew me away. The first ever Final Fantasy game Thinking about it then guilt I bought I spent the first 20 has a part to play too, I feel minutes looking at they box guilty that I have wasted art. peoples time. However on the complete contradiction to I liked that excitement of that I love design, and what I initially making my own do. I love making stuff people story from the pictures. can use or gain something Character design and world

design plays heavily in my design too, I love the use of colours within games as I can see how different colours can mix and create colour palettes before starting a design. I think because computer games don’t follow the same regulations and filters as say advertising they have an advantage and are allowed to follow aspects more freely. This is why they give me inspiration because of the things I was always told to avoid. I was always told to not be so crazy with my ideas and always told to reign them back a bit, which I think hindered me. I feel design today is all about status, too many people trying to be world famous. Trying to be number one on Tumblr or Dribbble, forgetting why they design. I didn’t start out thinking I want to be the best designer in the world, all I ever wanted was to be able to design something good and useful that my clients asked for. That’s why things like video games inspire me so much, because they just have full control.

Follow Andy’s work at:

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A big thank you to you all!!

Ampersand Magazine - Issue 4  

The fourth issue of monthly creative magazine Ampersand! This month featuring illustrator Jordan Debney, Musician Erika Kelly, Photographer...

Ampersand Magazine - Issue 4  

The fourth issue of monthly creative magazine Ampersand! This month featuring illustrator Jordan Debney, Musician Erika Kelly, Photographer...