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A freelance designer
from London. Since
graduating from the
London College of
Communication, Patrick
Fry has worked across
a variety of mediums
such as stop motion
animation, hand-drawn
illustration, typography,
and corporate identities.
He is currently working
from his studio in
Hackney on a number of
commercial and self-
initiated projects. Some
of his projects include:
Unordinary People
(design and art direction
of a book celebrating
50 years of PYMCA
photographs which was
later recreated as an
exhibition at The Royal
Albert Hall), Beardyman
(a variety of visuals for
champion beat boxer
Beardyman; each piece
focuses on Beardyman’s
mischevious and highly
adaptable qualities),
and
Tested Negative
(a
book for GMFA, advising
gay men on how to stay
negative).
Patrick Fry
www.patrickfry.co.uk
Patrick Fry 221
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671 Communication should
always come fi rst.
672 Steer clear of style trends.
The style of your work should be
unique to the project’s problem/
solution.
673 Don’t settle for the easy
processes, sometimes the harder
route will create a more unique
solution.
674 Look for inspiration in
strange places, not just in your
own industry.
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680
Enjoy your accidents and make them
part of the work.
675 Learn about everything. The
more you know, the more likely you
will fi nd that great solution.
676 Get away from your
computer. Make every project contain
something that a program cannot
create alone.
677 Make budget problems into
design solutions. Work with your
budget not against it.
678 Collaborate as much as
possible. Two brains are always
better than one.
679 Always keep a personal
project running, for all those great
ideas that never see the light of day.
Patrick Fry 223
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681 WORDS AND IDEAS. I’ve found
that talking about the idea helps, even
if the person you’re talking to has no
understanding of the subject matter
or isn’t interested. It’s incredible how
different ideas become once they’re
audible and how other elements come
to light as you explain your concept.
I used to get quite precious about
my initial ideas and subsequently
didn’t let them evolve. I would have a
preconceived solution in my head and
found I was reluctant to deviate from
that. In those circumstances I didn’t
produce a single piece of work that
I was proud of. Use sketchbooks, if
possible, but any type of printed record
is good. I fi nd it’s very helpful to take
screen shots of the document as you
make changes then print them out as
thumbnails. Things look remarkably
different when they’re printed out, it
also gives you an excellent account of
how the project has progressed and
the different directions it’s taken. I
tend to take things too far and have
been advised countless times by people
in the studio to take it back a stage or
two. This wouldn’t have been possible
if the iterations had stayed on my
computer.
682 R
ESEARCH FOR A BRIEF. There
are many ways of researching for a
brief. If it’s an identity project you’re
probably going to be talking to the
people within the company, fi nding out
what their viewpoint is and how they
think the company should be perceived.
If it’s print or web, it’s always a good
idea to have a look at contemporary
solutions to similar projects, in my
opinion anyway, to see what is the
most effective way of solving a given
problem and why that method works.
From there you may decide to discard
all your research and take a different
road but I fi nd it’s good to have a
grasp on what is successful and why.
683 S
MASHING BOOK.
Sorry Trees
,
Vince Frost.
684 C
LIENTS BRING CLIENTS. That’s
useless advice if you currently haven’t
got any clients but it is the case. Doing
things for friends can be good, self
initiated work is often a good bet but
just make sure you give yourself a brief
or parameters from the outset and
stick to them. It’s far too easy to let a
project trail off when you’re the client
and ultimately you just end up getting
bored with it.
685 W
ORKING WITH YOU IS GREAT.
Open-minded clients are wonderful;
though they need to be decisive too. I
can’t emphasize enough how important
it is to listen to them during your
elementary meetings. If they feel their
ideas are being valued and taken on
board you’re far more likely to have
your own ideas met in a similar way.
The relationship works both ways and
it’s very important to grasp that before
meeting any client.
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686 FACE TO FACE, EYE TO EYE. It’s not
so much a single tool, all are good in
different situations; meeting face to
face is still number one; next to that,
the phone and e-mail.
687 G
RIDS ARE PRETENTIOUS. It will
save you an obscene amount of time
and ensure your friends who aren’t
designers think you’re pretentious. In
all honesty, though, a grid is a really
great idea, like every other rule they
don’t have to be obeyed absolutely
but they provide a fantastic basis
especially if you’re doing a project with
a number of pages.
688 S
OULLESS COLORS. Because I
have no soul, I love silver (Pantone
877) on black, especially if it’s dense
information or has some infographic
quality. I also did a book recently
replacing magenta and yellow with
day glow inks (fl uorescent colors). It
turned out really nice and I’ve been
suggesting it to clients ever since.
Doesn’t really suit most briefs though.
689 P
RESENT YOUR WORK THROUGH
DIFFERENT MEDIA. It’s really all of the
above. A website is very handy for
people to look at it at their leisure,
a PDF fi le is a great idea to send
out to selected studios, and a print
portfolio is a necessity if you’re going
for interviews. Just be ready and able
to talk about your work in any of the
above.
690
O
RDER IT, BREAK IT, DISMANTLE IT. I like to
apply order fi rst; my work is nearly
always too austere and regimented a
week or two before it goes to print. I
like to work it up so that it functions
properly, satisfi es all reason, then
I like to break it. Over print, offset
or otherwise. It’s only after I’ve
designed it to death that I begin to
un-design it again. I’ve noticed myself
do that on most projects I’ve worked
on. The more successful ones are
the ones that I’ve had more time to
dismantle.
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