[top three: Glitch. Risograph prints; all other Chinese Whispers. Series of 5 handmade books]
London Based graphic designer Jamie Reid tells us a little about his past projects, creative process and that tricky move from university into the working world.
ON HIS WORKING METHOD.
JR: I collect lots of imagery and ‘stuff’, I also have a pretty huge (and growing!) book collection. I find it far more useful to start thinking in analogue before jumping straight on the computer or internet. I use sketchbooks or loose sheets, and really just do a lot of thinking. I try not to rush, and really think things over before taking on one concept. I jot down a lot of thoughts, and really try to research into the project I am carrying out.
ON CHINESE WHISPERS.
JR: It stemmed from a University project set by visiting lecturer George Hardie (a very inspirational designer!), the brief being Five books for five pounds. We were asked to question the form of a book, but other than that, the project was left very open. I am very interested in sequences and procedures, which was an important part of the outcome. I questioned the form of a book, looking into dictionary definitions taken from a range of sources. I spent a lot of time in the Library researching, and felt that my project should reflect this. The concept of budgeting the project was very exciting, and I decided to utilise the library photocopier to produce my five books. I budgeted a pound for each book, which meant twenty photocopies per book. I then photocopied twenty pages of dictionary definitions, in chronological order, to create content for the first book. These photocopies were then copied once again, though slightly distorted, to create the second book, and the same process was repeated to create the set. Hardie, when presenting his work to us, talked about the games and riddles he would use in his illustrations; I decided to name my project Chinese Whispers after the childhood game. This was the concept I was aiming to communicate visually: a message being degraded over time.
JR: My glitch prints are a little less complicated. This project stemmed from a University project, though it is ongoing. I have an interest in computer graphics, and computer glitches. For a long time I had been archiving these glitches, alongside using data-mashing to create my own glitched image files. After some zooming and cropping, what I found most interesting about the imagery was the distortion of the pixels themselves. I decided to focus on these pixels rather than the whole image. I work for Ditto Press, a Risograph Printer in East London, so am familiar with the Risograph process. I felt that I could create something interesting combining these two processes. The pixels were enlarged, and separated out into CMYK channels, which I then printed as separate spot colours to create the outcomes.
ON LIFE AFTER GRADUATION.
JR: My transition from University to where I am at the moment was greatly helped by internships and work placements I had over the three years of my University course. I ended up doing these between each of the three years, and was lucky to experience much diversity between each of them. This kind of thing really made the transition far easier and more enjoyable, for me at least.