When was State Design first established?

in 1997.

Had you worked before in Dublin?

I've never worked in Dublin. After finishing a degree in graphic design at Limerick School of Art and Design, I moved to London to start an MA at Central St. Martins. On the course I met Mark Hough and Mark Breslin, who I eventually set up State Design with.

How many members are involved and what is State Design's areas of interest?

There are now two of us, myself and my partner Mark Hough. Our focus is very broad - as well as motion graphics we work in interactive media and print.

Do you think being a smaller agency allows for more creativity? and more creative clients?

Being small we are free to follow our own interests. Also, most of our clients come to us though word of mouth - so we tend to have informal, creative, productive relationships. The downside is that a lot of your time is taken up with the non-design aspects of running a business.

What are some recent State Design projects?

Recently we have finished the trailer and festival identity for the 7th onedotzero film festival, as well as designing a large onedotzero publication called 'motion blur' that will be published next year by Laurence King. We are also working on a series of animated tv commercials for a mobile phone company that is developing the first mobile phone network in Afghanistan.
Last year we designed the identity, promotional graphics, and website for 'Game On', a major exhibition about the history and culture of video games that was held at the Barbican Gallery, London, and is currently touring Europe.

Does State Design pursue any non-client, self-initiated projects ?

We have our own preoccupations and obsessions and work intermittently on personal, experimental projects. These don't usually have any public outlet, but often evolve into client work. We have been asked by a publisher to create a State book, so hopefully this will emerge one day!

What do you think about the current state of graphic design? it seems to be particularly healthy in London?

There is a huge amount of activity in London. There are so many companies, events, publications. It is a very energising and exciting place to be when you are starting out. As a practicing designer though, it is a tough place to be - there is huge competition. I find it important not to be overly aware of everything that is going on - to pursue your own interests and preoccupations. Otherwise you can feel swamped and insignificant!

Is that down to more open clients or the creative confidence of design organisations and designers themselves?

I think it is due to the huge media industry here. No matter what you are working on - if there is something unique and fresh - someone will want it - there is a constant search for novelty, and an widespread understanding of the fiscal potential of an interesting piece of design.

Are there too many design firms in London? Is there enough work to go around?

I'm not sure if there are too many design firms, but there are now definitely too many graduates.

Is there are lot of collaboration between larger and smaller design studios in London, or do smaller studio's seek their own clients?

There is a lot of teaming up. Most of the larger projects we have worked on have involved some degree of collaboration with a large agency, or production company.

What is the relationship between State Design and onedotzero ?

They are our oldest client. They are also our friends and collaborators - and we share a studio space. We have worked together for six years.

Does being a multi-discipline agency allow State to work for a wider variety of clients? Do you think if you were a purely print agency that would be quite limiting?

It has always been natural for us to want to work across a wide range of disciplines. We relish the challange of tackling a new media.

Do you think graphic designers are becoming less print orientated over the last few years?

Yes. There is less bread-and-butter print work around. Companies put a large proportion of their design budgets into online activities. However the amount of creative print work as a a proportion of total print work seems to be increasing. Print is increasingly 'special', often a souvenier, something to be kept - or sold. The internet is liberating print from it's role a everyday, functional carrier of information.

What was your reaction to the demise of Create magazine? Do you think a healthy design magazine is important to pushing design creatively?

I didn't realise it had died. I never had much affection for that magazine, as it seemed to be pushing a representation of new media design as an 'industry' or 'community', with firms and their clients, award ceremonies, salary surveys, celebrities etc. - much as you would find in the advertising or public relations industry. I suppose that I have a more romantic conception of the field that I work in - that of a loose group of interesting individuals and ideas. There is a very healthy design magazine scene - it certainly contributes to a sense of bustle. However I'm not sure that it pushes design creativity.

Who are your favourite visual/graphic designers?

I respect the work of GTF. They seem to have struck an ideal balance between system and whimsy. And they are real craftsmen, with a great knowledge of materials.

Finally, what are your plans for the future? Where would you like to see State Design in 5 years?

To travel more. Develop our client base outside the UK. Make products. Free ourselves from studio routine a little bit and find ways of working that don't involve sitting at a desk for 8 hours a day!

Contact Details:
Website: www.statedesign.com

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