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In the autumn of 1995, having completed their first commission, the pair were invited to be ambassadors for the University by 'exporting' the graduating year degree show to the South of France. Responsible for the production of the show's: identity, brochure, CD-Rom and website the pair embarked on a two month exhibition and teaching period. Upon their return they met Her Majesty the Queen in London when she opened the new University campus. 1996 heralded the official launch of Citrus as an independent multi-disciplinary studio, along with their new promotional publication 'ex:haust'. Now, celebrating their 10th anniversary, it has been a journey of blood, sweat and fears.
JC: Definitely, what we have learned and experienced is invaluable and even priceless, especially given how the design industry has evolved in the past decade. Fortunately, we adopted the Mac in the early '90s and this, combined with our traditional, 'hands on' skills opened up a wealth of possibilities. SM: We'll never know! A bit more commercial experience and money from day one, would we have even started Citrus and would we be here now? Every path takes a different route, I'd like to think it wasn't the wrong move though. We innocently 'knew' we had potential plus multimedia and, more importantly, the internet were in their commercial infancy. At that time, offering print and web was quite unique and we tried to use this to get clients to embrace the new technologies. How did you convince clients early on to commission a young studio with no track record?JC: We have always been honest and straight talking. A number of clients have become friends, based on a long term relationship. This is important, especially as a lot of companies were badly burned during the dot com boom by agencies who weren't interested in longevity, just about making a quick buck. Clients are, rightfully, more cautious now. SM: Having an initial meeting gives clients an early opportunity to assess our approach, creativity and commitment to their project. Getting on with people has a lot to do with whether a project comes your way or not - regardless of experience. We don't have the accumulative costs of account handlers, art directors, creative directors and hanger's on. We are responsible for everything which means everybody knows where they are in achieving a successful solution. The fact that a client knows they'll deal directly with the creatives on a project simplifies the relationship as we can normally give immediate and direct answers to any questions. Also, regardless of client size you rarely work with more than small core of key people.
SM: Highs: designing! Being responsible for improving what people see and utilise. Hearing things like we love it and great! Lows: the BS and the politics we've witnessed, where individuals create obstacles if they can't be part of the design process - if I can't play, I'll ruin it for everybody else scenario, ridiculous! JC: There is nothing more satisfying than seeing something you've created being used, be it a bus with a design wrapped around it, to an advert in an international publication! There have been legal lows where we've been unnecessarily forced to protect the Citrus name which, every time, could've been an avoidable chapter. Would you say you have a distinctive house style?JC: I wouldn't say we have a style as such as each client is different and this is reflected in our portfolio. There is the age old argument that nothing is original anyway as everything has an influence and has been done before! We trained in information design and have always treated typography as a significant factor in our work: never just relying on Helvetica! SM: We'll never knowingly go down a path that leads us to 'looking' like someone or something else - what's the point? We strive for quality design that we are proud to be responsible for and put our name to: if you don't want to say 'we did this', you shouldn't have! We also try to push things conceptually and on different levels: where appropriate and if the project and client can take it, we'll introduce more visually rich elements, as it tends to be the eye catching stuff that can be the difference between a customer walking straight past or stopping to look, interact or buy.
SM: Graphic design is dead! It's all just 'design' now. The traditional boundaries/disciplines are merging into one: spacial or maybe surface design. Although we deal predominantly in 2D, a (graphic in style) design can be applied to pretty much anything or any surface. Just because we design a postcard doesn't mean that same design can't end up on a brochure, poster, building, bottle or clothing. It's the application that predominantly changes, not the design. For example, we've created a number of concepts for some 3D products as, production/manufacturing aside, it's still about 'design': visual dynamics, spacial relationships and problem solving. We'd like to continue producing 'graphic' products/artifacts, T-shirts, posters, etc. as we still regard ourselves as artists, creators! We'll be our own most demanding clients. JC: We've previously experimented with motion and sound design but had to put it on hold due to client commitments. We'd like to re-explore this especially as the associated technology has evolved and distribution is far simpler. To this end, the designer's role has become more multi-faceted in that a suite of skills are drawn upon and technology is shaping this. Subsequently, we are now able to work within fields that were once outside the remit of traditional 'graphic design'. Ultimately, great design will always stand out and this is why now, more than ever, 'true' designers/artists/creators/problem solvers are essential to continue this. Contributed by James PS Howlett >> See more work from Citrus >> See other member spotlights on the member spotlight index >> Find out more on how to become an altpick.com member |
