To help the students develop a better understanding of our personal positions as design practitioners, graphic designer and all-round cool dude Paul Jenkins led two workshops with us. There are quite a few guys called Paul Jenkins. I’m talking about this one. The first workshop was about establishing a customer facing description of our studio as a whole. The idea was not to push what we do, but why we do it. He showed us a clip from Simon Sinek’s TED talk on ‘why’. Just watch it next time you fell like watching an epic fail montage on you tube or something. You may not agree with what he says, but his argument is compelling.
So, as a result we were tasked with determining why Press Pass does what it does, how it does what it does and then finally, what it does.
Paul had an uphill battle with this, as functionally, our studio was simply a collection of individuals who happened to pick the same studio from a list of four at the start of the year. Press Pass was neither our idea or our raison d’être, so that was something of a hard sell. At this point I was going to tell you what we all came up with, but it might prove far more telling to explain to you why I won’t. Firstly, I don’t actually remember, and yes, that makes it pretty obvious that whatever lessons learned won’t be influencing future work. Secondly, It’s difficult to check the studio space, as the all the work on the wall is no longer on the wall.
After we did the brainstorming in the morning, we all picked a key word from our studio description and illustrated it somehow. The Idea was to stick this work directly on top of the stuff already there. Paul referred to this as a sort of ‘wire-framing’ technique, borrowing the term from website building, I believe. Thusly, once we left for the day, the work started to fall off the walls and no amount of re-taping seemed to prevent gravity from having it’s way in the end. And so the ideology of the Press Pass studio ended up relegated and forgotten on a dusty shelf in the corner. To date, no attempt has been made to give this another go, as quite frankly, getting fifteen people to agree on anything that is deeply personal to them is going to take way more than a couple of hours.
Now, there may be other reasons why this didn’t stick (oh dear, was that an unintentional pun?). I’ll show you the work I did in the second part of the workshop.
One day workshops have a habit of producing underwhelming work. I’m pretty sure we all know it takes more than ten minutes to make a masterpiece, but that doesn’t stop students feeling self-conscious about what they produce and even, occasionally, the workshop leaders being obviously underwhelmed with the results. Paul wasn’t a jerk or anything about it, like I say before, he’s a cool dude, but he couldn’t help but gravitate towards the prettier looking stuff. It’s human nature, what are you going to do? But my point is that most students don’t make a habit of showing off their workshop work to people who aren’t being paid to look at it, so instead of developing our studio’s core focus and the workshop stuff, when it all started falling off, people may have taken it as an excuse to cut and run. That’s conjecture on my part and probably too considered. It probably boils down to inactivity in the studio space in general. And without everyone there to work through it all, it would just end up being the opinions of those who bothered. And there are much better places to voice your own opinions, like on , I dunno, a blog or something. Hey, I’m just sayin’.
We did have another workshop with Paul, where we tried to conceptualise some sort of web content for self promotion. This was another hard sell. Paul wanted us to think deep, and work fast, two things I personally gravitate towards anyway, but a fair amount of the students in our studio don’t feel particularly comfortable doing either of those things. Like i said, you can’t make a masterpiece in ten minutes. I mean, I certainly didn’t.
My idea was conceived as an app where you touch various parts of an illustrated version of my face to get a grasp of who I am, so you touch my forehead to see my inspirations, my ears for stuff I like to listen to or my nose to see what I smelling. And what am I smelling? The image that would load would be of a bull taking a dump, so, y’know, do the math.
Again, brainstorming like this in a short amount of time is very difficult and when you don’t really have any notion of the practicalities you are going to have to deal with when realising your idea, it’s mostly a crapshoot. I’m undecided whether this kind of thinking gets easier the more you do it or if it’s just something some people are much better at than others. It’s probably both.
All in all, Paul Jenkins sessions were very taxing, and that alone means they were worthwhile. He gave us plenty to think about and encouraged us to keep refining the studio’s raison d’être. I have grave reservations about how likely that is to happen or even future studio initiatives, considering how we can’t agree with much conviction on why we do what we do among other things. Let’s see what happens, shall we?