25 Nov 2008
Peter Saville™: I Love Design and Disillusion 
You might want to rethink that graphic design career, at least according to Peter Saville™. In a pair of sobering video interviews for Quark's ilovedesign.com, Saville discusses the pitfalls of 'Commercialism and Design', seeing a "wave of disillusion across the creative profession", and in 'Pop Culture and Design', the 'open opportunities' of working for Factory and New Order, and what is iconic packaging vs. iconic music.

His advice to anyone questioning a design career: "What is it that they actually care about? I think there's nothing worse than being faced with 20 or 30 or 40 years of your life caught up in something you don't care about."

Other ilovedesign.com interviewees include graphic designer David Carson and book cover designer Chip Kidd.

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Peter Saville colour wheel
A Certain Ratio

"Manchester, 1978. In the beginning there were four: Jez Kerr (bass), Martin Moscrop (guitar/trumpet), Peter Terrel (guitar/effects) and Simon Topping (vocals/trumpet). Four thin boys with a name borrowed from a Brian Eno record, the intense, drummerless quartet initially drew influence from Wire, Eno, the Velvets and Kraftwerk, and gained a manager in Anthony Wilson of Factory Records.

"May 1979 saw the release of their first ACR single, the dark All Night Party, although the sound and musicianship of the band would be transformed by the arrival of funky drummer Donald Johnson (DoJo) in August. Over the next few months the band gigged widely, often with Joy Division as part of Factory packages, and recorded demos with producer Martin Hannett as well as a Peel session. Their support slot with Talking Heads on their UK tour in December 1979 set David Byrne on a new course, and provided the compelling live half of their chic cassette package The Graveyard and the Ballroom. Post-punk, ACR now reflected the influence of Funkadelic, George Clinton, Bootsy Collins, The Bar Kays and James Brown."

- intro to ACR Biography by James Nice (LTM)

The Durutti Column