#lovefootscray branding

We were honoured to be asked to design the branding for a unique project – a hashtag to support the Footscray community in the challenging pandemic times of rolling lockdowns and tentative steps to freedom. Instead of reading about it – you can watch Liana in this video!

Quoting design jobs = experience + psychology

Quoting for a job is something that gives a lot of designers anxiety! Mainly because if we get it wrong it could end up costing us many unpaid hours work OR the job never gets off the ground because we’ve overestimated and priced ourselves out of it. Estimating the time required for a project is something we get better at with more experience but there’s always an element of risk. For big design and branding firms, budgets are usually so substantial that a few hours or even days lost, are only a drop in the ocean. But for most small design studios or sole traders, it’s really important that we get the estimate right, spell out clearly what we’re going to do for that fee and specify what the costs will be if the requirements or scope of the job change beyond what was estimated.

A smart and eminently sensible studio manager I once worked with, used to say “quoting isn’t rocket science, you just multiply your hourly rate by how much time you think will be involved.” And this is basically the way I approach it.

But “how much time” depends on a few factors. It’s a bit like counting jelly beans in a large sealed jar. You can make calculations based on what you see on the outside but you have to guess what’s happening under the surface. We know from our experience how much work goes into designing the average brand identity. There’s the first stage – brief, research, concept development and presentation. The next stages depend on a few more variables – how well we’ve nailed the brief, how well the client responds to the presentation, how complex the rollout will be, how many aspects of collateral the brand will be applied to etc. You can get a lot of this sort of information at the briefing, which is why I nearly always push for a face to face meeting. It’s much easier and more efficient to dig for information when you’re at or with the source, so to speak. But a significant aspect of estimating time requirements is the human factor – which can’t be easily quantified.

Humans are wonderful, complex animals who can often be unpredictable. A significant part of being a good designer is being good with people. Or being good at reading people and reading between the lines. If a client and designer are struggling to communicate at the briefing, you can be fairly sure that the job won’t be all smooth sailing. And that’s ok. It can often be improved by actually working together and building effective lines of communication. Many of the best client/designer relationships are built over time. Generally, the more you know and trust each other, the more efficiently you can work together. But you need to also factor this into the time estimate. It’s not about pricing based on how much you like a person – but pricing based on an understanding of the psychology of humans. For example, if a business owner has come to us for a re-brand but they are reluctant to actually give up their existing brand identity (maybe a family or staff member has been pushing for it) – that process is going to be a lot more complex than if a client is enthusiastic about re-branding. So too if a client comes to you with a clear understanding of who their target market is and where they want to position themselves in the marketplace – developing a targeted brand identity is probably going to be an easier process than if the designer has to excavate that information themselves. And again that’s fine. Many of us actually love that process of researching and understanding a client’s market, and helping a client understand what that means and how to communicate to that market. But you need to build that into the estimate.

So estimating a design job is part experience, part guesswork and part multiplication. And the more you do it the better you get at it – but there will always be unknown variables. The practical ones can be allowed for by specifying an “out of scope” or “author’s corrections” fee. But the human variables are harder to predict. One of the best ways to do it is have a face to face briefing, ask lots of questions and really listen to the answers. Also don’t be afraid to ask for more information after the initial briefing. The more information you have the more accurate your quote will be. No-one likes getting a surprise invoice and no-one wants to feel ripped off. Good, open dialogue is the best way to avoid that. Happy quoting!

Liana Lucca-Pope
Creative Director

A good idea brightens a dark world

Liana was interviewed by Karen Joy, a Victoria University writing and editing student, for a great storytelling project called Nicholson Street Now steered by local Michelle Finke.

“A good idea brightens a dark world…”

Free pitching isn’t good for clients OR designers

An unpaid design submission means that a client will be getting an inferior and superficial response to a brief. And a designer will be instrumental in devaluing their own work.

As designers – our ideas are our primary product. That’s the unique thing every designer has to sell. A concept can take days or weeks to come up with (not to mention the years in university or professional practice). When clients ask us for free concepts, they are fundamentally are asking us to give away our product and our expertise for nothing. When a designer agrees to do this, they are usually either inexperienced or desperate. To give away ideas for free they will probably be forced to either; spend as little time as possible on the work with minimal contact with you (in which case you’ll only get a superficial design response) or they’ll rehash old ideas from other failed pitches (superficial design response), or they’ll spend days/weeks working for free in the desperate hope they’ll get the job (which is a pretty unethical thing to be part of). Asking for free design concepts from a professional designer is kind of like saying to a surgeon – although I can see that you consult at several hospitals and are registered with the AMA, I’d like you to have a go at doing my operation for free before I decide if I’ll pay you to do it properly.

It needs to be done properly from the get-go. Otherwise it’ll be a bodgy job. And if it’s done properly it’s going to take some time, and designers need to get paid for that time. Research designers, look at their work, call them for a chat or better still – sit down face to face for a thorough briefing. They’ll then be able to give you a comprehensive quote. And you’ll know by then if you like their work and feel confident and comfortable with them as a person. It will save you a lot of time and heartache down the track, I promise. It’s the best way to make sure that you and your designer are on the same page and they don’t miss anything…or fix your appendix rather than your heart!

Here’s some more information on the subject.

Design Institute of Australia – Say NO to free pitching

Why Free Pitching is Bad For You, The Client and the Entire Industry

AGDA Code of Ethics, sections 4, 6 & 7

Win Without Pitching

No!spec

Women in Design Interview

Earlier in the year I was approached by Jessica Watson, an Honours year student at Swinburne University, looking for participants for a project. She said:

I have a great opportunity to spend the reminder of the year on an in-depth uni project called ‘Everything about one thing’ for our Typography for Publication class. Since I have had the fortune of being surrounded by multiple inspirational women designers who have courageously undertaken the ‘work-motherhood-creative director’ conundrum, I would like to focus my project on ‘Women in Design’.

Objective: To delve deeper and learn about the trials and errors of women in design who have made the ‘mother & creative director’ life choice. Question why female designers taper off after motherhood and gather any advice for young women in design.

Submission: To Swinburne University and to the International Society of Typographic Designers. Deliverables: A printed publication and concept for a Women in Design exhibition with collateral.

This sounded super interesting and I was happy to be involved. Jess will be working on the project for the rest of this year and I’m really looking forward to seeing how it all comes together. In the meantime she is happy for me to share the interview here.

 

Liana Lucca-Pope interview

Section one: Creative Director

What has been the biggest challenge of your creative career so far?

To be honest there’s nothing that’s been that hard, for me to tell a story about. I mean there have been challenges along the way, but really they are just questions that need to be explored. I think that’s just what designers do, what I call ‘creative problem solving’. The sort of people who are designers are also problem solvers. I enjoy solving problems, so I don’t really see anything as being that challenging to work through.

What prompted you to launch your own graphic design studio?

It sort of happened, you could say, it was my desire to be independent. And maybe it’s a kind of perfectionism, in that I have fairly exact ideas about what it is that I want to do and how I want to interact with the world and the kind of mark I want to make and the kind of contribution I want to make. And it’s hard to do that when you’re working under the umbrella of another organisation where you understandably have to fit into their idea of how to do things. So I wanted to have the kind of independence that I’d been encouraged to have as a child, the way my parents raised me and my brother, to be very independent people, very independent thinkers. I have only worked full-time for three years in my life for someone else and since then, it’s always just been me doing what I wanted to do.

How do you approach the challenges of being a female business owner?

I do have thoughts about the challenges of being a woman in business. I don’t know if there’s a specific business owner component to it, maybe there is. But I have noticed for example in my career,  times where I have been in meetings or discussion with male colleagues that clients have addressed most of the questions to them, or expected that they were going to lead discussions; which is quite annoying and hard to address without coming across as strident. I’ve noticed that in professional contexts, women often get introduced with only their first name, where men get introduced with their first and second name. There are quite a few little things like that. I’ve now been working for a long time, nearly 20 years, and there’s not much of a change in that period of time. It’s never so bad that you can get all worked up about it but it can be quite noticeable. And it’s definitely not all the time. I’ve been in many situations where there is a sense of absolute equality. Where it’s who has the best idea or who articulates the best, that gets heard. But then there’s other situations where you are definitely perceived as being not as competent or something. So I address that by being as competent as I can be and by always trying to be brave, which is hard sometimes, when you’re in situations where you know that they perceive you in perhaps a slightly inferior way. It’s hard to find the words, but you just know when you’re not considered as important as the male designer for no other reason than being female, it’s hard to find a way to address that. So you just have to be brave and, well, not let it happen to you but just be as good as you can be and you’ve got to dress in a way that – I spend ages getting dressed, you know, how can I look like myself, how can I be truthful about who I am, I want to look attractive but also how can I be professional and how can I look powerful without trying too hard? Because as communication designers we know all about how judgments are made on appearances, so it would be naive to say that it doesn’t count when we’re talking about how we dress or how we present ourselves. So we just have to try to present in a way that shows you are more than perhaps they expected.

What would you say is the key to a successful female-run business?

I’m not sure it’s any different to having a successful male-run business. The principles of good business are the same.

How have relationships, partnerships, collaborations and networking affected your business?

Enormously. I have always been a very sociable person and I like talking to people and I’m like a sponge for information. I enjoy being around people, just having conversations with other designers, because I find it enriches the way I work, apart from the fact it’s just nice to meet people and you always learn something. So I’ve always put myself out there in terms of meeting other people in the industry. I became a member of the Australian Graphic Design Association when I was in uni and I continue to be a member and I also served on the council for several years and was vice-president for a bit. And all of these things and engagements with the industry I have maintained to a less or more degree. I mean there were some times where I didn’t do anything socially, probably around the time my son was little, probably because it was too hard. But it’s all been extremely enriching, I mean when you know people in the industry, you help each other. So you might help each other by sharing contacts, who do you know who prints in this certain way or who do you know who can do this kind of vinyl cut lettering or who do you know that does hand drawn typography? So we share that kind of information. And maybe I’ve looked at a portfolio of a young designer, but I don’t have a job for them, and I remember them and then one of my colleagues will say “I’m looking for a junior” and I pass on the name – so in that sort of way as well. And as you get closer to people, you share information. Just really practical stuff about invoicing or pricing or how you deal with customers who don’t pay. And it’s just fun. It’s fun to hang out with people who like similar things and share your particular life, and we’re all very passionate about what we do, it’s not something that you leave behind when you go home, it’s something I think that you carry through. You’re always a designer and that’s how you look at the world so it’s fun to hang out with people who think like that as well.

What methodologies, systems or routines do you have in place to make sure you are productive everyday?

Oh, I am so unproductive a lot of the time! But I am most productive when I have lists. I have a bad habit of trying to hold everything in my head, I think everybody does that and I’m always aware of what has to happen but if I just kind of allow myself to drift as I want, which is how I would prefer to be, like I would just prefer to do the stuff that is most interesting at the time, then you know I’m probably not that productive, in terms of bill-paying. So if I write lists and then I prioritise my lists and then tick things off and divide things into bite sized chunks… so you don’t just write, ‘Finish branding project for Client X’, you say whatever specific part you can do today so you write that down and then tomorrow you finish another section. So itemised lists are good. I worked from home for a while and I found while doing that it was really important that I ‘left the house’ in some kind of symbolic way and I found that the best way to do that was to essentially pretend that I had a bus to get on and a train and a deadline. So it’s like, ok I’m going to have breakfast ‘till this time and then I’m going to do my hair and then I’m going to get dressed and then I’m going to walk away. And then I’d just walk, you know, to the next room and completely ignore any housework that had to be done and just pretend that it wasn’t there at all and pretend that I was in an office far away. And then when my family would come home, like my son home from school, I would have to say, “I’m not actually here, I’m still at work, but I will be home in half an hour”. But it really worked much better before I had a child and after that, I had to really think about getting a separate office because it was too hard. So in terms of methodology, it is really important to put a start and end time to the day and try not to mix it up too much. I don’t like taking long lunches with friends because I find it too distracting during the day so I prefer to keep it really businesslike and if I’m going to have lunch, keep it short, under an hour, no alcohol.

Sometime process is more inspiring than the finished work. Can you talk about the process of one of your current projects, from idea to finished project?

So I meet with the client to get a sense of the project and what they want from the project, which is quite an extensive conversation. And then I start researching and then I do a lot of thinking, which is hard to quantify, when you’re doing estimates, that’s really hard. So I do lots of thinking not when I’m at work – I might be on a bike and I’m thinking about the client – there’s quite a lot of thinking time outside of office hours, but I like that. I think it’s interesting. So the process is all the time, an ongoing exploration so then the actual beginning of the design process sort of sounds bit dry: research, research, research. But it’s not that dry because it’s your whole life of being open to colour and texture and culture and that’s exciting. Pretty much once I have done all that research and abstract thinking, I then start drawing, and I’m a really bad drawer but it’s a way of getting my ideas out, it’s not about making pretty pictures. In the beginning, the computer is way too restrictive, so you’re restricted by your technical ability – and I have a really high technical ability, I’m very skilled on the tools, but I find it very restrictive, so I find it much better if I just sit down and do my dodgy drawings in pencil or pen, getting them out, and I’ll start whittling away at those and trying to refine them then and make a bit more sense of them or I might just get straight onto the computer. I might actually show the client a mood-board. It sort of depends on the client, you can tell quickly with some that if you show them a mood-board they’re probably going to be really confused and they’re not going to understand and they’re going to think that you’re being literal, “So this is what I’m going to get?”, “No, no, no, it’s just a bit of a look and feel, we’re just seeing how we can play with colour or play with form to communicate”. But some clients don’t get that so they really need logos in that situation. But then you need to articulate that to them, you need to always keep your client informed on the process. Clients prefer if it feels like a solid, sensible process, rather than some airy-fairy abstract happening. If they know that you’re following a process then they will have more faith in you. So it’s good to articulate that to them. Usually for me there’s very little difference between the first design that I show and the final one, because it’s right, I got it right from all that thinking and from the process. So usually there’s very little difference – maybe they want to see a colour variation or maybe some more information in there if it’s a poster or something, but normally it’s pretty much how it was when I first showed them. And then you just develop the design to the different bits of collatoral beyond what you started with.

How do you stay inspired?

That’s just my life. I guess I do recognise the importance of making an effort beyond the everyday kind of inspiration. And I do know that when I re-engaged with the design community after that period of time where I dropped off and stopped going to things, I did really feel more inspired. Around that time, my son was five or something, and I started going to more industry events and it really is inspiring, and then I actually started teaching – not a lot, just one class a semester – and that was really inspiring as well. Being engaged in a thoughtful way in the industry that you work in, beyond just doing jobs, stimulates you. So it was inspiring to teach because the students would make me think about things in different ways that possibly I hadn’t thought about and also I did a lot of research because I wanted to make sure I was well informed. Every week trying to find things to engage them, I liked showing them films and different things. I had to research, I didn’t just know that stuff, I had to research and I found some amazing stuff around the world, so that was inspiring. And then being around other designers and talking to them about their businesses and their practices and their ideas, you know, it’s exciting. I’m excited about life in general and as a designer you’re interested in everything you see around you, that’s just how we are. But I think a professional engagement with your community also is inspiring. But you have to make the effort to get off the couch and go to that talk at 7:30pm when all you really want to do is sit there and watch Revenge. So you’ve got to make the effort.

 

Section two: Motherhood

How have you approached the challenges of being a business owner and a mother?

Sort of the way I’ve timed it, it works for me. I freelanced to design studios, I never went through an agency so it was just me, that was when I was called ‘Hired Gun’. So I had some really close relationships with some studios where they would just bring me in all the time when they needed someone extra, so when you do that and you have a child it’s really about having good daycare. Now my son is older and can take care of himself, so I guess that’s one of the reasons I started Hello Idea, being my own design studio. He can go home after school by himself now and he’s fine. As much as I thought I was going to be the same independent person and the baby would just fit into my lifestyle, it was impossible and I suffered quite a big identity crisis around that time. It was very disconcerting being someone who had complete control over their life – if I didn’t like something, I walked away from it – and then suddenly you can’t do that anymore, because you’ve got a child. It was really hard for me to work out who I was and how to navigate life as someone who now had a responsibility that was never going to change. I found that really, really difficult.

Is there a work-life balance? What routines do you have in place to ensure this balance?

You achieve your own lop-sided balance in, you know, whatever way you can. By things like me doing the mornings and my husband doing the evenings with our son. But in terms of feeling good about it, my husband and I talk about it a lot, the most important thing in our life is that we are strong, we are solid, and then everything else will work. So if he and I are in good shape, then our family is ok, our son is ok because he’s got two parents who love each other and support each other and will do anything to keep each other safe. So that means that if work gets in the way of that, then you change work. So that’s how I achieve the correct work-life balance. The correct balance is when the people you love are more important than anything, so my work has retreated or filled out, according to how that question is answered or how my family is being looked after. So now work is very dominant, in a way more so than ten years ago because my son is older and able to look after himself, and because my husband’s work has dropped off quite a bit. So when his work gets more dominant, mine drops back a bit. So really it’s the partnership of he and I. Without him, I have no idea how it would work, I have no idea. It’s really all about his and my ability to maintain the correct dynamic between us.

Do you separate work and home life or do you embrace them together?

I think you are more productive or better at both if you keep them separate. You know, they say it’s better to do one thing at a time properly. But one is always informed by the other, they don’t happen in isolation.

Have you changed the way you run your studio since becoming a mother? In what ways?

Yes, completely. In all the ways I said before really. It’s about how you organise yourself, but also about how much work you take on and the kind of work you do. You think about work load and work flow in a completely different way when you are a parent – when you have another person who needs you. And parenting is exhausting. Enriching but exhausting. So to make sure you can do everything – be a friend, a partner, a mother, a designer – you have to change things, how you do things.

How do you manage expectations with a family?

When our son was little he was in daycare for three days a week and my husband had one weekday off during the week, so that was four days a week I was available to freelance. I had to organise that ahead of time, it couldn’t just happen when I happened to get the work. I almost pretended I didn’t have a kid, because if people think it’s hard to hire you then they won’t hire you, so you sort of have to downplay it. And I kind of hate doing it, but you have to pay the rent, so you have to never acknowledge that it’s an issue. So my son was taken care of four days a week which freed me up to work four days, which I thought was completely reasonable. But eventually I got a bit sick of doing that. Freelancing. I’d done it for a long time, and I wanted to do more direct to client work so I stopped freelancing to other design studios and I started taking on more design projects on my own. By then what we’d started doing was I would do the mornings, taking my son to daycare, feeding him breakfast and all of that, and then my husband did the evenings. So if I wanted to work late into the night it didn’t make a difference. But I could never do morning meetings. I pretended to clients it had nothing to do with parenting, I would just say “It’s much easier for me if we can meet after 9.30am” and then if I had to, I’d say I do childcare or school drop offs. But you sort of feel like you need to downplay the fact that you have a family, to seem reliable to people. But now my son is thirteen so it’s not really an issue anymore. He can look after himself more.

Was having a family part of your original plan and have your career objectives changed because of this?

I wasn’t going to have a child at all, until probably the year before I did, and so then I’d been out of uni and working in design for six or so years and then I suddenly thought, “Dammit, I think it would be really interesting to make a person!”, so it was kind of out of nowhere. I thought that it would be something really amazing to do, a really interesting thing to do as a human being and as a creative person, to experience bringing a person into the world and helping that person grow. So it was sort of like a creative project to be honest. But I was kind of making things up as I was going along, I didn’t have a plan. I just go along with what feels right. I’m very open and very responsive to whatever’s happening in my life at the time.

 

Section three: Industry

What is your vision for creating a profession where female designers thrive?

On a daily basis, I am aware and thoughtful of trying to ensure that I do something to improve the lot of women. So the way I raise my son, I am raising him to be an amazing man who has an absolute belief in women as equals. So every interaction I have, I think about that stuff. The way I live my life is about encouraging the world to see women as equal, with the absolute understanding that we have not been equal and we are still not equal, but you know, we’ve come a long way, but there’s still a long way to go. You have to acknowledge that, you have to live your life with that understanding or nothing will change. If you go around blindly thinking everything’s perfect, then nothing will ever change because you won’t be actively doing anything. So you have to be aware that things are not perfect and that there are always ways we can be better as a society.

Do you feel there is inequality in pay and/or opportunities?

Yes. There’s lots of evidence for that, at least in the broader workplace. I think the design industry is actually pretty good in that regard, but we would be naive to think it didn’t exist. And until the whole of society changes and our cultural attitudes to gender stereotyping fundamentally changes, it’s going to continue to be unequal.

Have we broken the cycle yet? Or will it start to show in 10 or 20 years?

Theoretically it gets better all the time, but there’s still a long way to go.

What do you think is the reason for the lost legacy of woman designers who drop off from the industry after graduation?

It’s a really big question and there are many aspects to it. So, the fact is that we continue to live in a male dominated society, in a society that encourages males and females unequally. It encourages a real kind of confidence for boys and a quietness in girls. Women are constantly being judged on their appearance in a way that men aren’t and on their behavior in a way that men just aren’t. And all of these things impact at the end, when boys are encouraged be bolder and louder – bolder let’s say – there’s an impact. People become known in design, of course because they’re doing good work, but also because they are winning awards for example. To win an award, you apply to win or you nominate yourself. That process is something that is done by bolder people, so I would guess that a lot less women put themselves forward than men do. I know loads of women designers who never enter any awards, it’s not interesting to them, they don’t see the point, or it seems like kind of self puffery. I think there are a lot of women doing beautiful things in design, but we don’t necessarily know about them. It’s also about how much support we get, to put in the hours to establish a really substantial body of work. There’s no question that a man isn’t going to be supported by his wife to go out and work the ridiculous long hours that you have to do, the travel, all that kind of stuff to have a successful business, a high profile. But many women are not supported in that similar way by their partners. And women are expected to be the primary caretakers of children. And if you look at high profile women in design, I would say that they are probably firstly exceptional people, both in their talent and in their willingness to buck the system. Women are generally told to keep quiet and kind of be domesticated, but the well known ones have pushed beyond that, so they’re more exceptional examples of people in general. And probably they don’t have children. Or very few children. Women are allowed very narrow categories of success: it’s at extreme ends. Like Mother Theresa who gave up her whole life to support the poor and lived in poverty and was a nun; or we celebrate the dancing, prancing, pretty ones, and – that’s kind of it. So as long as society is like that, nothing will change. So it’s not a design industry problem, it’s a cultural problem, and the more we change our culture, the more this issue will change.

——

The Idea Collective – at the Institute

We’re super excited about our latest studio project – the Idea Collective. It’s moved beyond the idea stage and is now in the building stage (aka conception and labour!). After a year sharing a studio with Ink Creative and Handle PR, we’d fallen in love with the idea of shared working spaces and decided to set up a new space of our own. But rather than it just be the Hello Idea studio with other people subletting OUR space…we wanted it to have an identity of its own, with everyone coming together as a more equal collective.

When we came across a space above the Footscray Mechanics’ Institute, it seemed like the perfect place to start the Idea Collective. Mechanics’ Institutes began in the 1820’s as a largely philanthropic exercise, informed by a belief that the whole of society benefits by a well educated populace. They were set up to provide higher education to the working classes and also give them somewhere to go apart from the pub! They usually had a library and often had a billiard room.

The Footscray Institute began in 1857 but the current building at 209 Nicholson St was built in 1913. The large billiard room on the top floor was divided in half many years ago and let to a law firm who also occupied most of the top floor. Although the old law firm is long gone, somehow the original hand painted gold lettering of the partners’ names survives on the glass windows on the Napier St side of the building and is beloved by locals. The space we will be using for the Collective is what used to be the billiard room. Well – half of it. The other half is still the billiard room, which we’re delighted about! So, if you’re looking at the building from Nicholson St, the three windows on the right are ours and the three windows on the left are the billiard room. To get upstairs, you enter from the back of the building on Napier St. Once inside, you walk up a wide dark wood staircase and at the top, the antique glass panelled door leads to our space! It’s all strongly reminiscent of an old detective agency. Very film noir. What a gem! We had to have it.

The Idea Collective now had a home. Our challenge was how to clean up an extremely shabby, aged office fit out and design a space that we could happily work in with other creatives, and also comfortably bring clients into…without spending a fortune and losing the very quirk and charm that attracted us to the space to begin with. It’s quite a job! But we love a challenge and it’s really a very enjoyable process creating something new like this. Although maybe talk to us next week after we’ve ripped up the carpet and actually seen the floor boards. The bits we’ve seen so far look fantastic! A gorgeous dark red hardboard. But we haven’t seen it all yet as the carpet is still in place while we paint.

Anyway the search now begins for the right people to share the space. It will officially open at the start of July but expressions of interest are being taken before then.

We’re still working out some of the details, but essentially there’s going to be about 8 desks available for full time “members” (member is a much nicer word than tenant, don’t you think?) and a couple for part members (hotdesking) in the approx 75 m2 space. The desks are nice and big with a top area of 800 x 1600mm. A good chair is provided as well as a matching under-desk locker and everyone will have shelf space. We are keeping some of the old internal office walls while removing their doors so the place feels open, while still having nooks – or different zones – and walls to stick things on. There is a basic kitchenette with a sink, bar fridge, microwave etc. There will be a dedicated meeting room (with doors!) which can be booked by members. Access to the space will be via a keyless entry system so it will be very safe. We are just around the corner from Footscray station with lots of good places to eat and get great coffee. As soon as possible, there will be an Idea Collective website which will feature short profiles of the members with links to their own websites.

Does that sound good? If so, you might be just the person to join the space. We want to build a hub of creative people from different streams of the communication field. You might be an art director or illustrator or copywriter or web developer or photographer. We might collaborate at times or just be someone to smile at when you get to the office in the morning. The main thing is to find other people from related fields who enjoy the space and want a sense of community in their workplace. If you’re interested, send us an email with your contact details, telling us a bit about yourself.

Cheers!