It’s 3.15 am. I’ve been off the digital radar for the past ten days. Swifty and I were working on a couple of British Council funded projects in Aukland, New Zealand aka Aotearoa. Arrived back in London town yesterday. Got an Addison & Lee cab from Heathrow to Stokie dropping Swift in Ealing on the way. It cost £91.00. A rather deranged and sobering welcome back to pre-Olympic / Golden Jubilee Bighty n’est pas! Read Further Here
Swift and I touched down in Singapore at six in the evening. It’s was a welcome one night stop-over on our way to Aukland and intended to ensure we arrived at our destination ready to roll. Stepping out of the air con of the airport we hit a wall of tropical heat. It was humid as hell but neither of us was complaining. We were only hours away from a wet and miserable London. Read Further Here
Singapore – Sydney – Auckland…. gotta say, the aerial view of Sydney was pretty impressive… all those inlets and coves lined with yachts… life-style is undoubtedly king. It’s clearly changed a lot since the Tolpuddle martyrs were transported there, given a loaf of bread , a knapsack and a pair of boots, and told off you go. Ironically, despite seeing myself as an heir to the tradition of resistance that the Tolpuddle martyrs represented, design-don Swift and I are being transported to these former British colonies, by the British government, not for sedition, but for the purpose of a “master class in creativity” which “involves aspiring artists and performers from Auckland’s diverse communities, working with the best of contemporary UK talent, to collaborate, create and celebrate.” Read Further Here
The PIYN project was scheduled to kick off at Bizdojo at 10.30am and there were 25 people registered. The initial idea for the project materialized when I first met Gareth Farry in London. He was on a scouting mission and I was interested in doing a project that united various disciplines that would result in a some kind of publication. The prospect of holding a “master class in creativity” was a little daunting, especially as we had no real idea as to who we were dealing with but, as Swifty and myself had worked on Straight No Chaser with an ever shifting, diverse group of contributors I felt we were primed to pull this off. Read Further Here
ALPHABET CITY is run by native New Yorker Erin who specialises in pre-digital printing and runs an early evening letter writing group. Erin is old skool and upon our arrival at the work-shop she and Swifty enthusiastically talked TYPE! They then set a group to work organising letter press alphabets which could be printed out and then cut up and used to construct headlines and layouts. Others were directed to the central table which had numerous portable manual typewriters. Their task was bosh out the pieces that they were writing or had received from friends. Read Further Here
There’s a foreword on Swifty’s website, by Paul Bradshaw, which says something along the lines of, ‘even if you’ve never heard of Swifty, you can bet your life you’ve seen or even owned a piece of his artwork’, and he’s pretty much right on the mark. Since the early 90’s, Ian Swift, aka Swifty, has held his place in the graphic design industry - heralded as the ‘godfather of the sampling generation’ - such is his deep-rooted connection to the game. From his London studio, Swifty Graphix, Swifty has applied his signature touch to innumerous projects, maintaining a primarily hand-drawn approach in a rapidly changing graphic design world. SLAMXHYPE recently caught up with Swifty ahead of a trip down under, to talk about his experience, work, the changing face of graphic design, upcoming projects and get some sage advice on getting away from it all.
Jack Smylie: Hey Swifty, how did you get into the world of graphic design?
Swifty: At the tender age of sixteen I enrolled at Warrington art School (instead of being a rock climber!) and it was there in my second year my tutor Martin Dutton thrust the first copy of The Face magazine in my hand and said, “This is the future of graphic design”. I then applied to do my degree at Manchester Polytechnic because I was also a big fan of Malcolm Garret's work and Peter Saville's, who both went to Manchester. At Manchester in my third year, again my tutor Pam Schenk invited Neville Brody to give a lecture. After his talk he looked through all the student’s portfolios (in alphabetical order). Being 'S' I was last but one! I walked into the room and the first thing I said was, "I bet you’re a bit bored of all this", or something to that effect - as I knew damn well he'd had to sift through enough very boring work prior to me!
His ears pricked up and he opened my portfolio, which was full of hand drawn type in the Brody-esque style! He wrote down his number on a piece of paper and said there was a junior position available at the Face magazine and he wanted me! A fairy tale story really. As I got nearer the end of my degree I started phoning, but to no avail - I got to know his assistant quite well, who again was probably getting a bit pissed at my phoning three times a week.
I remember thinking it was all no good and he'd probably filled the position already. It was a Friday evening about 7 o’clock and I gave it one last chance, and Neville actually answered the phone. "Oh yeah Ian - when can you come down and meet the Publisher Nick Logan". I put my degree show up, put all my stuff in my sister’s garage, packed a rucksack and headed down to London to hook up with my good pal Dave Standley who was at St Martins, to live in a squat in Clapham and started work immediately. Never looked back!
You’ve been in the game for a while now - do you find that the graphic design industry has changed a lot since you started out?
The industry is almost unrecognizable from the days I started out. For one you had no computers, it was a well-paid and well-respected industry. People commissioned you and had no idea how the work was produced. It was a kind of mysterious profession. People would ask me what I did and I would reply that I'm a graphic designer. The response would be "what's that?" Even worse when I started saying I was a typographer, the reaction would be total confusion. Now of course the computer dominates the industry and our lives in general, and I have to say it’s NOT for the better. Graphic designers are now sub-rated professionals who are being undermined by anyone who's got a mate with a copy of Illustrator or Photoshop. Yes, to some extent higher up everybody knows you need to call in the big guns, but every day I battle against people who think they know better or have too much of an opinion. The free pitch has all but killed the industry in my opinion; degraded good graphic design to a sub-rate service and has been opened up to abuse on a large scale.
Do you think the Internet has played a large part in the way the industry has moved forward?
Yes - digital technology has made the job easier and of course in reality made all our lives much better. However, it is dangerous! In the wrong hands, and without the right training Internet use and the digital domain can be a very dangerous environment. Young people are now - at the very start of their lives - adopting and embracing this new technology and we don't really know to what effect. The click generation is an experiment! And we are all part of that big experiment, so we have to respect it and tread carefully. Graphic design of course will always be right at the forefront of new ideas and new movements - that’s what great graphic design is - the reaction to the culture we live in, a reaction to what’s going on around us, what we see, hear and experience. The Internet now is the number one way we experience anything, so in that respect we are living in revolutionary times.
A large part of your work has been related to the music industry – I must say, some of your jazz prints and record sleeves are among my favourites – what’s your connection to this scene?
Even at college I knew I wanted to be a sleeve designer. It was and still is perhaps the only part of the industry where you can have a voice, do your own thing and get a little more freedom to experiment. I suppose I really got into it by literally going out clubbing. I was out three or four times a week, real clubbers don't just club at the weekend! And I was lucky enough to start designing "Straight No Chaser" magazine, late '89, which pretty much landed right into that acid jazz scene. They were fantastic times - the early 90's - very fresh, but with an optimism coming out of the Thatcher years. My output was a few sleeves a week mixed up with enough club flyers. I hooked up with Janine (the flyer queen). She was the original flyer girl for Gilles Peterson, she would flyer 24/7 all around town and her car always had nuff bin bags on the back seat, full of flyers. She promoted and put on famous gigs like Jazz 90, Sunday Afternoon at Dingwalls (which still has a reunion style gig), Thats How It Is at Bar Rumba on a Monday night, the list goes on! We are still together 22 years later with three kids. Through the connection with Chaser, I started doing all the sleeves for Talkin' Loud and then later James Lavelle's Mo' Wax label, which I was very instrumental in helping set up. Music is still my life and Paul Bradshaw, (ex Chaser publisher), is still my mentor and musical enhancer. We are currently pioneering a project entitled ‘Word, Sound & Power’ Reggae Changed My Life, an exhibition celebrating UK Reggae and Sound system culture. The story continues!
Paul Bradshaw from Straight No Chaser magazine calls you a ‘modernist with a nostalgic streak’. Is this about right?
Paul always has a brilliant way with words! Yes it’s a kind of modernist approach or postmodern approach - everybody kind of has their own slant on the subject. For me, my life is intertwined with deep-rooted thoughts of nostalgia. I suppose my father had a great deal to do with it. He was a very eccentric man - a Punch and Judy man and magician in his spare time. It was a strange obsession. He was devoted to his craft and did kind of want me to continue in his footsteps. Also, I grew up in a time before 'Star Wars' - as kids we played 'war' in the playground and had grandfathers and uncles who would continually talk about the war. I think it’s just part of my make up that makes me very nostalgic. Then in the early 90's when I started sampling and appropriating in my own work it resonated with my own nostalgic thoughts. A strange attraction to 'old' things and old ways is still what makes me tick. I used to say ‘you have to know where you've come from in order to know where you’re going to!’
Am I right in suggesting that there is a lot of ‘London’ in your work?
Although I'm a Northerner at heart, I have lived in London since '86 - I couldn't work anywhere else. I'm a converted Southerner. My accent has all but disappeared, in some ways, yes, my work is very 'London' in that it’s my home and I still get a portion of my work from living in London, but my pragmatic approach and outlook is still very Northern. I'm very proud to have grown up on Merseyside – it’s an area rich in creativity and history and I had a great childhood growing up in that area.
Music seems an obvious inspiration for you and your work – what else inspires you as an artist?
The list is endless, but I suppose the main ones from the art world would be Pop art in general - British artists like Peter Blake and Richard Hamilton. From the USA: Andy Warhol, Robert Rauchenberg, of course Marcel Duchamp and Jackson Pollock. More art like Ben Nicholson, Barbera Hepworth - I love the St Ives Scene in the 50's in general. Dada artists like Kurt Schwitters, Hannah Hosch and Roy Heartfield. Fluxus as well. On the graf front: People like Futura2000, Seen and Mode 2. From the design world: Malcom Garret, Neville Brody, Peter Saville, Saul Bass, Reid Miles, Paul Rand, Barney Bubbles, more obscure stuff like Sister Corita, skateboard graphics from the 70's and film posters from the 60's and 70's. UK TV programmes - in particular anything Gerry Anderson - I have a respectable collection of Thunderbirds, Captain Scarlet, Space 1999, UFO toys and collectibles - that’s the stuff that boyhood dreams were made of! I could go on and on!
You’re also a prolific font creator – where did this fascination with typography stem from?
Got no idea - like I touched on earlier, my father was a very interesting guy - who never really, I think, developed his true creative potential. He would always be making something and of course he sign painted all his own magic and Punch and Judy stuff. I always drew as a kid, and when I ended up at art school my tutors very quickly - and myself too - realized I was pretty good at combining typography and image. It just stemmed from there. It wasn’t until the Neville Brody years that the industry opened up with the advent of "Fontographer' version 1 (which was a bitch to use), but did enable people like myself to suddenly ‘have a go’ before it was a closed shop. Again, I just developed what my heart told me to do, there was no real master plan - never has been!
Do you still try and maintain a hand-drawn approach with your typefaces? And design work in general?
Yes. The hand drawn element is a vital part of my everyday experience. It's the heart and soul of my work, the lifeblood. It gives me the rawness, the energy, the texture, all the things that I'm obsessed with. I have a small table in an extra addition now to my shed which is purely for drawing, just a simple desk with trace pad, cutting mat etc. The scanner is of course my next weapon and third the computer itself. The combination of the old ways fused with the ease of the digital domain is the secret to my work, nothing new really, nothing special, but I think a lot of designers forget about the craft of graphic design.
Can you shed light on any upcoming projects/shows you have planned for the near future?
I can honestly say the last two years in some ways have been the hardest for me. With the economic downturn I'd be a liar if I said it hadn't affected me. In these times of hardship we have to diversify and almost turn our hand to anything to survive. But this year I have seen a distinct revitalization in my work and interest in my career with the things I've done. Its 22 years since I set up shop in a run down area of London called 'Hoxton', look at it now! I'm as busy as ever now with commissions coming at me from all angles. The one area I'm very excited about as ever is my own projects. I have teamed up with Paul Bradshaw (ex Straight No Chaser publisher) whose musical knowledge is vast. We are in the process of getting arts council funding to put on an exhibition entitled 'Word, Sound & Power' Reggae Changed My Life. It will be a touring exhibition of photography, memorabilia and design. I will be the graphic facilitator and Paul is curating it. Both of us are off to New Zealand next month with the British Council to do a 3-day workshop in Auckland, and the task is to produce a fanzine without the aid of computers. Again it’s about the heritage that we both have now, it’s about exploring and re-looking at the old ways before computers. It’s going to be a mad experiment - I'm really looking forward to that trip. Also in NZ I'll be speaking at 'Semi Permanent', which is the main creative conference in Australasia and we'll be doing a little show at the local music hub, Conch Records, who have a new area in the garden ready for some Swifty wall art. And both of us will be spinning some ska, rocksteady, roots and dancehall in the evening! When I get back, at the end of May is the 'Art Car Boot Fair', always a regular treat in the Swifty diary - get down there for some bargain prints and bits of art. Then in June I'm off to the Lake District for some hill climbing with my family - another great passion of mine - can't wait for that. All in all its going to be a mad next few months what with my daughter taking her GCSE's and my eldest son is part way through his A levels. In the summer I head off to Dorset with my youngest, Spike, and get some quality time in camping – bush craft style - another thing I've always loved since a kid. It’s essential sometimes to just get away from it all and just get back to basics, no computers, no Internet, no phone signal. Get a fire going, camp under canvas and experience the simper things in life. It’s essential for our souls that kinda stuff... I would recommend it!
The British Council presents Swifty & Paul Bradshaw 3 Day Workshop in Auckland
We are extremely excited to have two UK heavyweights visiting Auckland in May as part of the 2012 PIYN programme. Heralded as the “Godfather of the Sampling Generation”, Ian Swift (“Swifty“), has been an highly prolific figure in the London music and design scenes for over twenty years. Recognized early on by the likes of Erik Spiekermann and Neville Brody (of FACE magazine) as a rising star of typography, Swifty’s unique fonts and bold sampling techniques have extended the boundaries of modern graphic design, whilst his distinctive album sleeve and club flyer designs are responsible for pioneering the UK Acid Jazz movement’s signature style.
Swifty is also presenting at the Semi Permanent Conference Auckland May 18th.
Paul Bradshaw is the man behind the iconic London magazine Straight No Chaser, as well as being a journalist and modern day UK music and culture consultant.
Join both UK mentors for an exclusive three day workshop exploring publishing technologies, UK cultural history, Music and fanzine production. To register please contact email@example.com – places are strictly limited. This is a creative commons FREE event.
We are also holding an industry meet and greet with Swifty and Braders at Conch Records on Friday evening May 18th from 6pm, where some seminal UK tunes will be played, as well as a little chat from the two UK guests, and the completion of some artwork that Swifty will be blessing the Ponsonby shop with during the week….
Since his debut years at Face Magazine, Swifty has held the role of creative designer for magazines such as Straight No Chaser (The Magazine of World Jazz Jive) and Area, designed covers for countless preeminent musicians through his work with labels Talkin Loud, Mo Wax and Source 360, produced animation for television, designed a camo clothing line, as well as founded his own company Swifty Toypographix through which he has published several books.
In recent years Swifty’s commercial success has enabled him to indulge in more personal projects, pieces that make up the majority of his current touring collection. He admits that despite his clients remaining pretty liberal with design briefs over the years, he finds something infinitely satisfying in creating entirely independent works. Influenced by childhood nostalgia and drawing from a host of very “British inflated” memorabilia circa 1960, Swifty explores a variety of media such as sculpture, painting and collage in recreating images from of this diverse and turbulent period.
Ian Swift was born near Liverpool in 1965. The youngest by seven years, Swifty acknowledges that he’d grown accustomed to doing his own thing: ‘I wasn’t really I loner, rather I always sort of had my own agenda.” This became particularly apparent when he first expanded his company, “I found it really hard to delegate. I’m the hands on type: I’d rather just do it myself than attempt to explain what I envisage”. After vacating the rapidly gentrifying Hoxton area in the late 90’s and deciding to downscale, Swifty set up shop at the bottom of his garden- what he now recognizes to be the definitive work station. “It’s kind of isolated, but I like that, I can really zone into my own little world and do my thing.”
The decision to integrate image sampling into his work symbolized a turning point in Swifty’s career, a paradyne that would forever change the face of modern graphic design. Swifty recalls the first time he was confronted with the possibility: “Very early on when I started doing work with Talking Loud, I was approached by a band (Young Disciples) requesting to reproduced a Joe Henderson, Blue Note record sleeve (Mode for Joe).” He recalls that at the time the request was a touchy subject, as although in the 90’s sampled music was most popular and considered rather as homage, Swifty explains that “graphic sampling” “was still frowned upon in a funny kind of way”.
Swifty admits that aside from its appealing aesthetic value, camouflage subconsciously symbolizes an important influence in his life. “My dad was exempt from going to war, he stayed on the home-front and was an expert in tank and ammunition repairs. I was immersed in this kind of imagery as a kid. Until my older sister encouraged me to persue my drawing talents and go to art school, I had always saw myself joining the army. The war played an important part in the lives of my parents and grandparents, I think it has always had an influence on my work”.
Aside from the turbulent images of the 60’s and his love of music; another significant influence in Swifty’s work is definitely his love of Pop Art. “When I left school, I remember sitting in art history lessons and always falling asleep”. Something about a cold, dark projection room and monotonous lecturer soullessly pointing at slides of Monet or Turner, turned Swifty else where for inspiration. He found this in the library, where he could again discover things “for him self”. “The first thing I discovered was pop art, I immediately identified with it. Warhol was obviously the king of the scene. Although I was never really into the celebrity thing, there is something about the Campbell’s Soup Can that really appeals to me, it’s typographical, it’s “designed”. The mixing of popular images, with other topical subjects of the time has given Swifty’s work a unique and vibrant dimension.
Swifty sees himself moving further into fine arts in the future, “unlike with graphics, with paining you don’t have to please anybody, it’s very personal”. Despite confiding that his ultimate super power would probably be to add more hours to the day, Swifty has never been the anxious type when its comes to producing art:
“Art has never felt like work to me, it’s not like business where you feel over pressured to achieve. Ever since I’ve worked at home, I’ve felt like my two lives are finally fused. My studio is only forty feet away, so my art is finally infused with every aspect of my life.”
Ian Swift says “I’m a graphic designer primarily, but I do art.” He says “I’d designed hundreds of flyers, hundreds of record sleeves and was firmly established as a music industry designer.”
The PIYN project involves aspiring artists and performers from Auckland's diverse communities, working with the best of contemporary UK talent, to collaborate, create and celebrate. The programme involves capacity building workshops, online and face to face collaborations and master-classes in creativity.
The PIYN project kicks off this week with the visit of cultural icon Rosanna Raymond, who presents and performs with Pacific Sisiters at the Pacific Arts Summit before working with the Colab team on events at AUT Manukau and City campuses. Rosanna will be a speaker in the Pacific Arts Summit Pecha Kucha Night AND feature in the exciting Pacific Sisters SOUTHSIDE: EyeKonik event, as well as also delivering a workshop and two presentations through a residency with CoLab at AUT University’s Manukau and Wellesley campuses.
For more details about the event visit the Colab site, the PAS blog, or download the full PIYN programme here.
Rosanna is a well-known figure in the NZ Pasifika movement, being an integral practitioner and inspiration from its earliest days. She has been based in the UK for the past decade where she has forged a career not only in performance, poetry, art installation and exhibition, but also as a cultural
mentor, engaged at the highest level with intercultural dialogue, empowerment and cultural understanding.
View full People in Your Neighbourhood schedule here and get tickets here
As part of the British Council New Zealand's Creative Cities programme we have our flagship event called PIYN - People In Your Neighbourhood which launched March 2009. Planning for the 2010 event is currently underway. PIYN 2010 will involve live shows in Auckland, Taupo and Wellington May 2010, as well as UK visitors USO and acclaimed street poet and urban creative guru Charlie Dark (Attica Blues, Blacktronica). The event in 2010 will focus on participatory media, livestream internet technology and online income generation toolkits for diverse aspiring creatives - stay tuned for more details.
The PIYN project involves aspiring artists and performers from Aucklandâ€™s ethnic communities, working with the best of contemporary UK talent, to create an album or other portable multimedia, and perform a live street-style urban show. We aim to explore and celebrate the unreconised artistic and urban talent in all of our neighbourhoods.
The British Council has an established global network of emerging leaders in the Arts, and a reputation for high quality delivery of cutting-edge projects. For this project in 2009, and again in 2010, BCNZ is involving the acclaimed UK string collective Urban Soul Orchestra.
Working with some of the emerging artists amongst Aucklandâ€™s Asian, Polynesian, Hispanic and European communities, an album has been recorded that includes ethnic musicians and songwriters, alongside modern Kiwi urban producers and artists, collaborating to create a work that has modern production values, whilst still retaining distinct elements of culture.
The bulk of the tracks will include both English and another language.
The album will act like long strands of a net, reaching out into ethnic communities in NZ and drawing the music back to a central creative hub. The idea is to create â€œstarsâ€ in each community. You can download the full album for free here.
In conjunction with the album release and promotion we will also be producing a live show to showcase the intercultural aspects of the project. The show will be performed at the Transmission Room in Auckland March 12th 2009, and at Womad Taranaki March 14th 2009.
USO was formed in the mid 90's by violinist and string arranger Stephen Hussey in response to a demand for a new generation of progressive and forward thinking string musicians, who embraced and encompassed the cosmopolitan and diverse music scene in London.
Made up of a multi-cultural blend of London's finest instrumentalists, the USO have spent 15 years collaborating with many of the industry's most celebrated and successful artists including Soul to Soul, Gabrielle, Nitin Sawhney, Groove Armada, Keane, M-People, Sly and Robbie, Omar and Shola Ama.
USO are in a league of their own when it comes to adding the lushness of strings to recorded and live music, from community and ethnic based projects to some of the most well regarded modern artists of our time.