This graphic designer’s a dab hand at typography and, while his taste in snacks is a little dubious, he clearly has an eye for a good spread.
What are you working on right now?
A new biannual publication, a brand identity for a gallery and a Hélio Oiticica inspired light-box for my flat.
What inspired you to pursue a career in graphic design?
Chronological milestones: Richard Scarry’s Cars and Trucks and Things That Go, Gerard Hoffnung’s The Hoffnung Symphony Orchestra, Art Foundation at LCC under the tutelage of Leigh Clarke, a talk by Matthew Hodson at Leeds College of Art and working with Joe Gilmore of Qubik whilst up in Leeds.
What’s your most invaluable piece of kit?
Pencil and notebook. I carry them everywhere, for drawing more than for note-taking.
How do you develop your concepts?
My approach differs enormously from project to project. I recently enjoyed working closely with a brilliant editorial team from MA History of Design at the V&A/RCA to develop the concept for a publication. As a result of this process the outcome was something which felt entirely appropriate. It is true of my process that invariably a strong relationship with the collaborator or client helps me to better understand the true nature of the task.
What’s been the biggest turning point in your career?
To date it has to be joining up with the fantastic team at A Practice for Everyday Life.
If you could collaborate with anyone, who would it be?
Win Butler and Régine Chassagne or collaborating again with my good friend Marek Tymkow.
What would be your fantasy commission?
I'd enjoy getting back to my farming roots with a commission to design and produce a coffee table book on British cattle breeds.
What’s your guilty pleasure?
Salad cream and digestive club sandwiches.
arthurcarey.co.uk
