Offset - Day one

Offset is a three day creative conference held annually in Dublin. Every year the very best of Irish and International creative professionals come together for a weekend of presentations, lectures, interviews and discussions.

Barber & Osgerby

After a quick overview of the studio and the work that they do, presenter, Edward Barber, focused on two of their biggest projects to date; the London 2012 Torch and 'Double Space' in the Victoria and Albert Museum. Compared to the first talk of the day, this was light hearted, insightful and whity. The complexity of each project described in great detail to a few gasps and oohhhsss and aahhhhsss by the audience. I was blown away by the engineering of both projects and in particular the scale and tight timeline of the Olympic Torch.

Boys & Girls

Rory Hamilton, Creative Director of Boys & Girls took to the stage to give an insight in to his own personal story of how he ended up in advertising as well as focusing on some of his new work with his current agency. Rory spent his early career working on big Irish brands Guinness (six years in total) and Bank of Ireland. Like all creatives, Rory mentioned how hard he found to look back over his previous projects. I think this is something we all feel. He said that even five minutes after he completes a job he struggles to look back at it. He focused on several Guinness adverts he worked on and the process involved from the man hours, the miles travelled and the reasons for his decision to move on and set up an agency of his own. The main piece was to focus on the production of the 3 Mobile Christmas 2014 advert. As a working dad, he said he travels a lot, and spends a lot of time on Facetime to his two daughters. This was a major influence in the story of the advert. A dad who will go to the ends of the earth for the perfect surprise for his children. The advert was shot in Swedish Artic Circle in October and took a couple of weeks to produce - compared to his Guinness days where an ad could take up to 12 months to complete. One of the big Christmas advert hits this year!


Hey are a graphic design studio in Barcelona specialising in brand identity, illustration and editorial design. Some of their clients include Apple, Three, Monocle, Vodafone and ESPN Magazine. The first job they had commissioned was a 2cm x 2cm illustration of a globe for a Spanish magazine Monocle. Shortly after this they worked on more complex and bigger illustrations for them. They showed some footage of the process involved in the development of one illustration in particular. The level of detail they go in to is mind blowing, especially as this was still to fit within a standard sized printed magazine. 

They spoke about the importance of personal projects for all members of their team and something all designers need to make sure to take time to do. Veronica discussed a project she did for one of her close friends, Jammy Yummy. What came through for me was how keen they are to add some handmade elements to their work. For this is was punching holes in their business cards - which seemed like a good idea at the time - but ended up a massive undertaking when her business took off which had to be replaced by a die cut process. Their packaging is a quirky and colourful as the name suggests. As are their flavours! Carrot jam anyone? 

Annie Atkins

Annie was the graphic designer on the Oscar nominated Wes Anderson film, The Grand Budapest Hotel. I always knew graphic designers worked behind the scenes on films and TV programmes but the level of detail and variety of projects undertaken by her and her team was actually mind boggling! In her presentation she focused on two main elements in the film, the pink Medls box and the envelope used in the scene in the prison. What was hilarious to find out was that when all the thousands of Mendls boxes were printed, a spelling mistake was spotted - so she is human afterall! This was later fixed in post production but she said if you see one on ebay for sale that is spelt correct then you know its a fake! Like most graphic design for film and TV they are usually in the background, never onscreen for more than a second with no level of detail to be seen. But the level of detail that Wes Anderson placed on all aspects of the graphic design meant that even if the camera blurred the detail, the detail was still there. It was there for the experience of the actors and for them to be in the world he created completely.

Crammed and crazy day but loved it all!