You may have seen a sudden yellow sheen settle over Wellington and an increase in sightings of swarming colourful body bits. We caught up with our new mates, the team behind the beautiful branding and design of our 2016 festival, Inject Design. Questions answered by founder and creative director, Harry A’Court.
How did you get into designing?
My mum is an artist, graphic designer & interior designer. Growing up I was surrounded by her incredible work on a daily basis – her passion for design and creativity was pretty inspiring. I literally grew up inside an art gallery and every aspect of the environment was well thought out.
How did Inject as a company begin?
I started Inject from a basement studio in the Wellington CBD on Holland St. Working day and night I quickly built up a solid client base through word of mouth. A year or so later we moved to the top floor and had over 50 clients on the books. Inject has now been operating for 13 years and we’re pretty stoked with what we have worked on and achieved in that time.
What are some other awesome projects (besides Fringe) that you have worked on?
We only work on projects that appeal to us – so from that respect it’s hard to pull out a standout, but the branding we created for the Wellington Chocolate Factory is a favourite (I have a major sweet tooth). Clients like Fat Freddy’s Drop allow us to explore the more creative end of the spectrum.
We’ve worked with Hell for about 12 years now and really enjoy what we get to produce for them – The Zombies from Hell AR project was one of the highlights. The opportunity to work for James Cameron on his personal brand for Cameron Family Farms and Food Forest Organics was pretty mind-blowing!
What is the general approach to a new project? How do you begin?
We usually start off each project by bouncing ideas around the studio to ensure we are getting a variety of ideas to play around with and we narrow down the freshest approach that best represents the client’s brand/product. During the initial client meeting we gather information about our client’s business, then get a solid understanding of the tasks and deliverables the project entails. From there we develop a brief, timeline and proposal. This helps instil trust, shows the client we understand the tasks at hand and gives a transparent overview on each stage of execution.
Tell us a bit about the 2016 Fringe branding – the bits. What do they mean?
We wanted to communicate the many facets of the Fringe Festival. Our aim was to dissect and showcase what the Fringe represents as a whole Festival, whilst giving a nod to the diversity of the shows and capturing the essence of the overall experience.
How did you choose your colour palette?
Fun, energetic, high impact and an intense colour punch to the face was the thought process that helped us arrive at a bright yellow backdrop and array of supporting coloured parts.
What was the most rewarding aspect of designing the 2016 Fringe branding?
I’d say the tangible aspects, such as holding the printed programme in our hands just as it was fresh off the press, as well as seeing how popping all the street posters look around town.
Working alongside the team at the Fringe was an awesome experience – they are such a positive and creative group of people, who are as passionate and open to creative possibilities as we are.
What type of show images stand out to you as designers in a programme?
The ones that stand out to me are bold, colourful and well executed images. It’s amazing the visual cut through an image with well considered lighting and professional photography has to its audience. The images appear as thumbnails in some places so to get impact across at that size it helps to have something minimal and bold.
Check out Inject’s work on their website here and keep your eyes peeled for their awesome Fringe branding splashed around Wellington’s bits. THANKS INJECT xx