OUGD502 - Studio Brief 01 - Response from Anthony Burrill

" Hi Megan,

Here you go:

1. How did you first get into printmaking? What drew you towards the process over more digital methods of producing design?

Working on a tight budget made me resourceful, seeking out cheap production methods led me to working with the corner shop photocopier. It cost 4p for an A4 copy, that was just about within my budget! I graduated to screen print and letterpress, mainly for the availability and affordability. The first printers I worked with were small local businesses in South London, more used to printing business cards and stationary than my fluxes inspired independent publications. At the time I didn’t have  computer, I used analogue means out of neccesity.

2. Do you think more traditional, analogue techniques are becoming more popular in design today? If so, how do you feel this is affecting Graphic Design as a creative discipline?

There’s more of everything now, more analogue, more digital and more cross discipline work. It depends where you look and what perspective you have, there are many different disciplines to choose from now, it’s all about creating your own unique approach and developing a network of like minded people, finding an audience for your work and being continuosly active.

3. I understand you studied at Leeds Polytechnic and the Royal College of Art. How would you describe yourself as a creative whilst you were studying?

I was intersted in trying out lots of different things, from sculpture to printmaking, learning about typography and exploring animation. Driving everything was a desire to tell my own story, it took me a long time to work out how to do that. My art education started at college, but I didn’t reach any firm conclusions, I was busy planting seeds and developing my own approach. It took me years to understand who I was and what I was trying to say and how to communicate it.

4. Who and what were your main influences which have brought you to where you are now in terms of your practice?

My influences are broad, it’s difficult to name specific artists or work that has helped shape me as a designer. I’m influenced by everything I’ve seen and done, whether that’s in the design world or in real life. You can’t separate the person from the artist or designer, they are the same thing (at least in my case!).

5. Your bold typographic compositions are something which have become unique to you. How important do you feel it is for designers to put more of themselves and their own values into their work?

I think it’s vital. We were taught at college was that we were messengers, servants of the message. I think that’s partly true, but it’s impossible to divorce your personal views and politics from work commissioned by clients. It depends what sort of designer you want to be, whether you are socially engaged or working purely commercially. 

6. Any advice you would give someone like myself about getting into the design / printmaking industry?

Make contact with as many studios and practitioners as you can, build friendships and contribute to the wider community. Be part of the conversation, make work that is relevant and has something to say, above all make work that connects deeply with yourself. As the phrase goes, work hard and be nice to people! 

AX "