‘Tradition is very important in Norway and we are renowned for big scale celebrations on 17th May”, says Charlotte, our resident intern who hails from Tromsø – land of the midnight sun and the famous Northern Lights. “National Day is a day to celebrate our unity as a people, with lots of street parades, music, ice-cream, hot dogs, champagne and beer. There will be flags, cakes, ice-cream, hot dogs, beer, more flags, marching bands – we know how to party!”.

Charlotte is spending a few weeks with us working in the design department.  ”LFH is a unique place to work, people are so committed and there’s a real team approach. Plus I’m involved in some very exciting projects, including innovation and repositioning challenges for some of Norway’s most iconic brands. Having grown up with these brands,  hopefully I can provide that extra cultural insight”.

It’s a long way back to Tromsø, so this year Charlotte will be celebrating National Day in Southwark Park, the hub of the annual 17th May festivities in London.

“I’ve been given the task of attending the Norwegian National Day events in South London, as part of a research project. I can’t wait to get involved! It’s also a chance for people to gain a snapshot into Norwegian culture and way of life. Everyone is welcome  - even our very own Princess Märtha Louise will be there today.”

To all our Norwegian clients and contacts, Happy 17th May!

Interview: Naomi Hawkins, Business Development Manager

In plain English, Andrew’s role is to successfully combine the ‘science bit’ of production with the creativity of the design team, to achieve the optimum result for our clients’ brands.

Even when Andrew isn’t pondering over the theory behind colour,  he likes to set himself an intellectual challenge.  Today’s is rather complex:        

‘If matter falls to earth, does anti-matter fall or fly?’  (Does it really matter…?).

Interview: Naomi Hawkins, Business Development Manager

Aside from the judging, we’ve been chatting with those creatives about what inspires them and why they’ve chosen to become part of this ambitious initiative.

Here’s what Simon Conder, founder of Simon Conder Associates Architects and Designers had to say…

What is the single most interesting brief you’ve worked on during your career?

Without a doubt, it has been Ordos 100, a project in Inner Mongolia planned by Chinese contemporary artist, Ai Weiwei, which set out to build 100 villas designed by 100 architects, in 100 days. Each of us where allocated a site upon which we were required to build a villa to fit the space – there was no brief, no programme and no budget. A project like this makes you realise how incredibly difficult it can be to work  without constraint. Whilst we Europeans struggled, architects from emerging economies just threw themselves in at the deep end. The project was part of a city that is being planned from scratch. It will eventually be home to 10 million people but, in actual fact, many saw this project as an art installation with people buying off-plan almost as if they were buying a piece of art. For me, the whole thing was a wonderful opportunity to build an ‘exhibition’ which raised the issue of sustainability in that part of the world.

Who has been your biggest influence?

Chrissie Charlton, typographer, graphic designer, letterpress printer and my greatest critic. She started off as a typographer and moved to letterpress as an antidote to the sterile output of computers.

What is the greatest piece of advice you’ve ever been given? 

I’ve always hated being told what to do so no-one has ever dared to offer me advice! I find education quite distressing these days – I learned as I went along and was never constrained by the big architects. I liked to think for myself – today, there’s not enough concentration on the power of imagination. There’s not enough individual, fresh thinking.

What advice would you give a creative student today?

Try to work out what you’re about and approach your work in a personal way that would be useful. Very few people have the strength of character to carry on despite all the odds and it’s very tough for people to express themselves – it all too easy to conform. Great architects like Norman Foster and Richard Rogers achieved everything by being true to themselves.

In this culture of fear and cautiousness, what is the future of design?

There are two aspects to consider. One viewpoint is that design is becoming more corporate than ever. Another is that, with all this technology to hand, we are now able to create in our back rooms. In my view, the best work comes from relatively small practices. Architecture is about teamwork and three or four people working together can deliver great work.

What is it about the Creative Conscience Awards:UK that has inspired you to get involved?

It took me back to where I started. Everyone was highly idealistic compared to now. To get back to design for a purpose that helps us all to survive and which helps our fellow human beings is easier said than done in world that has become so motivated by profit.

How does your creative conscience express itself in your work?

10 years ago, there were very little consideration of sustainability in our work – it was all about light and quality of space. NOW, sustainability is written into the law and, therefore, you have to produce a building that meets a certain set of criteria. It’s interesting to me, to take all the elements that are integral to a building and to design them in. It has given me a new reason for designing buildings in a way that harnesses natural energies.

Interview by: Kate Burton

“Every day brings a new challenge, explains Tom. “I never know what I’m going to be asked to design when I walk through the door! I love working on projects where the client is brave enough to try something new, allowing me to come up with quirky, clever and innovative solutions. I’ve been working on new packaging formats for an international confectionery brand – most of our clients are great to work with because they’re willing to push the boundaries to create new and unique structures, which is not only fun for me it’s also great for their brand.”

Tom’s idea of relaxation is to head to life drawing classes at the National Portrait Gallery. He says, “It’s probably the only time I get to sit still! On the last Friday of every month the class is free – a perfect way to finish the week.”

For his next task, Tom is off Brighton to get inspired by ice-cream! Even if it rains, we don’t think Tom’s enthusiasm for this next challenge will be dampened.

Interview: Naomi Hawkins, Business Development Manager

Aside from the judging, we’ve been chatting with those creatives about what inspires them and why they’ve chosen to become part of this ambitious initiative.

Here’s what Paul Barlow, founder of design and branding studio, L&Co, had to say…

What is the single most interesting brief you’ve worked on during your career?

A new mobile phone brand for Estonia, called Diil. It’s a budget brand so working on it was very liberating indeed – there were no rules, no red tape. We were able to grab every big idea that we had and run with it.

Who has been your biggest influence?

Creative Director, David Freeman. He taught me the power of having ideas – he IS ‘Mr Ideas’!

What is the greatest piece of advice you’ve ever been given? 

Good design is all about putting across the message; never let anything get in the way of that.

What advice would you give a creative student today?

Start with ideas. Put away your mouse and use your brain and a pencil. Good design is about attitude, not skill.

In this culture of fear and cautiousness, what is the future of design?

Standards are coming down across so many areas today. Design has a way of reinventing itself so it’s always relevant.

What is it about the Creative Conscience Awards:UK that has inspired you to get involved?

We don’t do enough of this stuff. In our business, awards tend to be about self-congratulation. Using design for the greater good is wonderful. Chrissy – founder of CCA:UK – has a passion that is evangelical.

How does your creative conscience express itself in your work?

We always make time for ‘not for profit’ clients such as Starlight. We try to maintain integrity and we always aim to do things as honestly as we can.

Interview by: Kate Burton

Aside from the judging, we’ve been chatting with those creatives about what inspires them and why they’ve chosen to become part of this ambitious initiative.

Here’s what Nicola Mendelsohn Executive Chairman of super cool agency, Karmarama, had to say…

What is the single most interesting brief you’ve worked on during your career?

The White Ribbon Alliance tent at the Glastonbury festival. There was no budget, but we just had to get involved.

Who has been your biggest influence?

My parents. They gave me my moral compass, my value system and have always given me their unwaivering support.

What is the greatest piece of advice you’ve ever been given? 

Do the things that you think that you can’t do.

What advice would you give a creative student today?

Have no regrets. Never go through life thinking ‘I could have’ or ‘I wish I had’ and, of course, do the things that you think that you can’t do.

In this culture of fear and cautiousness, what is the future of design?

There is a fantastic future for design so long as we continue to be pioneering, experimental and involved.

What is it about the Creative Conscience Awards:UK that has inspired you to get involved?

Every day, we have to consider the effects of what we do and how that impacts greater society. We must all try to do that little bit extra.

How does your creative conscience express itself in your work?

At Karmarama we have created a value system around the concept of doing good work. This extends to staff and everyone we work with; it’s the basis of everything that we do.

As she left, Nicola gave me her business card. On it is written, ‘Karmarama Good Works. At Karmarama we believe in good karma. We are good to our staff and our clients, and hopefully one day, some of that goodness will come back to us. To have one of these cards you must have been really nice to us. So over the next few days, prepare yourself for a large dollop of good karma loveliness’.

We truly applaud this kind of authenticity and Nicola’s deep commitment to place goodness in the world.

Interview by: Kate Burton

“I love my job. I particularly enjoy the early phases of a project and am known for my doodling and sketching! I love to get under the skin of the brand I’m working on, whether it be soup, hot chocolate, bakery products or whisky. My inspiration can come from anywhere; I keep a little book of things which inspire me, you never know when you might need it!

Lierne Bakery has to be one of my favourite projects. The brand has a captivating story behind it – it started off as a cake-making business in a small village in rural Norway, baking delicious creations for the local community. Working with the team to bring this story to life has been an amazing experience. The new Christmas packs literally sold like hot cakes, and there’s more exciting work to come – so watch this space.”

Claire is also passionate about music and is looking forward to a summer of festivals.  This week she went to see indie/folk singer Luke Sital Singh in concert.

No doubt she was smiling all the way through!

Interview by: Naomi Hawkins, Business Development Manager

I went to the funeral because I don’t see how you can ignore these things when they are on your doorstep. It’s a £10m event and we’ve all paid for part of it. I also wanted to feel the energy, which was electric as you approached – I think everyone was wondering whether it would kick-off and violence erupt – and then strangely reverential and respectful as it happened.

Quiet applause, initially for the Queen and then for Maggie. Heads bowed too. Of course the theme track of Elgar and funeral marches tapped into the sense of Englishness and that probably made everyone behave with more dignity. However badly we thought of her in life she’s dead; that was respected yesterday and that was nice to experience.

Of course, meeting Gloria was all part of the party feel we do so well. Even the ‘out of service’ bus parked outside of St Paul’s made me smile and seemed to be joining in the spirit of it all.

I had a ball.

Interview with Mark Gandy, Executive Director

The first thing you notice about Des, our cheeky chappy in Production, is the glint in his piercing blue eyes (he’s of Baltic stock is our Des). That and his striking tattoos.

“I love my job as Studio Manager, organising work, motivating the team and, basically, ensuring that we meet our deadlines. I’ve seen and done it all over the last 20 years but there’s nothing that can compare to the people at LFH. The most satisfying moments are when the team engages, we all pull together and achieve our goals for the day…then I can go home, have a beer and feel I’ve done a good job.”

Outside work, Des is passionate about Lambretta Racing – he and his brother manage a team of engineers, drivers, and their bikes, DKS Raceteam, who regularly take part in the BSSO Championships.

Says Des, “We’ve just secured sponsorship from Tino Sacchi, one of Italy’s largest engine race tuner manufacturers – serious stuff! I love everything about racing, from the team spirit through to the smell of the engines! The ‘paddock’ is like family; a bit like work really!”

Interview by: Naomi Hawkins, Business Development Manager

As most people know, I have always been a musician at heart. Playing with bands and exploring sound are a few of my interests and, it seems, I have an eclectic taste in music – something that often gets me in trouble when it’s my turn to choose the music for the studio – so, when I was recently asked to look at creating a piece of sonic branding for a client, I jumped at the chance to combine my production skills with my love of sound. I build those sounds using Ableton Live. For single sonics, Live presents me with a blank canvas that sounds can be painted onto. The separate elements are arranged spatially as opposed to being constructed in a linear sequence. This playfulness has allowed me to try out a lot of different ideas in a short space of time and this is beneficial when working to project deadlines and production schedules.

Sonic branding – where a sound is used to perform the function of uniquely identifying a product or service – may be an unfamiliar term to most of us but it’s something that has been around for years. Consider, for example, the unique way a ‘Kit Kat’ sounds when you break it or that special rustle of a ‘Monster Munch’ packet that conjures up childhood memories. Of course things have moved on a lot since then. Take Nokia’s ringtone, for example, or Intel’s iconic four-note sonic audio mnemonic that had us all seeking out the technology without particularly understanding what it did.

It’s obvious isn’t it? Sound just works on a very different level to a visual; it hits our emotional core and, therefore, gives brands an opportunity to say a lot in a very short space of time. A sonic brand takes root in our brand in a way that is very hard to ignore. It just seems to stay there.

But what does it mean for a brand that chooses to connect via our ears? And why would a brand seek to do this?

Well, for a start, sonic branding isn’t just about ears; sound is the royal road to an instant personal response from the listener. The response can be thematic, moral, emotional and even physical. A brand that carries a sound is not just another touch-point with the consumer, it becomes an ingrained way of identifying a product – and creating an immediate connection to it – in the mind.

This is because – here comes the science bit – music and sound is processed by the lower sensory levels of the brain making it impervious to later memory distortions meaning that a person can connect with a sound for longer than they can retain an image in their mind. And let us not forget that, in the modern age, our minds are required to process millions of visual images every day. Our brain needs to work very hard indeed which means that sounds often have more cut through.

So, you see, a sound is much more than ‘just a sound’; it is something that can almost instantly transport us towards a brand on a much deeper emotional level and what brand wouldn’t want to do that?

I suggest that, rather than paying celebrities to promote your brand, invest a little time with us to create a sonic brand that will stay in your customer’s minds for decades.

Interview with Ed Ezra, Artwork and Repro Operator