Apparently, a recession is a good time to start a small business. Customers are looking to shop around, the market is flooded with exceptional talent, even the cost of office space and equipment can be haggled with.
Small businesses, micro organisations and freelancers prevail in the creative sector, and in the current climate a difficult job market has resulted in an increasing number of start-ups and self-employed professionals.
So what impact can small creative businesses have on the economy?
Having worked for large public bodies and SMEs, I'd argue that being small means you stay agile, and adapt quickly to meet market needs. The entrepreneurial spirit remains strong in small companies. You will take more risks, try new approaches and look out for wider opportunities - something which larger firms find harder to do, particularly in difficult economic times.
Small companies provide fantastic training grounds for new talent. School leavers and graduates looking to get their foot on the ladder will gain hands-on experience and a real insight into the workings of a business. It's not often you'll see a trainee chained to the photocopier in a small creative company. This in turn helps to support a cycle of entrepreneurship, and develops a workforce that thrives on innovation.
Digital technology has transformed the ways in which businesses can connect with each other, and their clients. Digital has fostered a spirit of collaboration, without geographical boundaries, and small companies and freelancers increasingly work together to develop new projects and products.
From the small business owners and freelancers that I speak to, confidence in the future remains high. It could just be that this spirit of innovation and entrepreneurship is exactly what the economy needs to get started.
By Ruth Ward, Managing Director, Rewired PR
Thursday 5 November 2009
Revolution or Refresh?
As Joanna Birch's launch article highlighted, there are several excellent examples of interagency and intercompany collaboration. There is a great sense of community among 'creatives' and in particular among Birmingham's legion of digital experts and enthusiasts. Whilst there are 'mash ups' around ever corner in the sector I believe we need more intrasector collaboration and understanding.
For all the excellent work of public bodies including Advantage West Midlands, Birmingham City Council, Screen West Midlands and Business Link (which work together more effectively than almost any other region) and the efforts of many creative leaders and entrepreneurs, there is still a cultural gap between what might be described as the Custard Factory and Colmore Row communities.
Meanwhile, appreciation of creativity and digital does not reach into every corner of the Council House and other parts of the public sector (there I was desperately trying to avoid references to #bccwebsite...fail!).
So, when it comes to creativity, we face a cultural problem. We need to go further to embed creativity into the wider business community and public fabric.
The Work Foundation's report 'Staying Ahead: the economic performance of the UK's creative industries' touched on the importance of creativity beyond its own sector. If Birmingham's creative talent is to revolutionise the UK economy, they will have to do it through every sector of business and industry, not just creative companies.
It's time to re-articulate the case for Birmingham as a creative capital. Back in the early 2000s, Birmingham: Creative City was the shiny new toy. Those arty and clever computer types were going to be the answers to Birmingham's economic problems. As well as wealth creation, the creative industries would also help our image, visitor economy, attractiveness to investors and students as well as supporting social policy objectives. That job is far from finished. Environmental and medical technologies, modern manufacturing, financial services and many more industries have and are changing the face of our economy, but that does not mean the time for backing creative industries has passed.
With the 'c' word hanging over public spending, the case for further interventions and support from the public purse will need to be clearer and stronger than ever (and I don't disagree with many of the points made by Steff Aquarone in this space recently). Some degree of continued public support is needed to assist in the growth of this sector, particularly in areas like skills development, business advice and more importantly than ever in accessing finance.
Can the creative industries revolutionise the UK economy? Creativity can certainly play a big role, but (to paraphrase a slogan) we need to do even more locally to ensure our creative heart is connected to all parts alongside establishing Birmingham as a truly global creative city.
The Creative Birmingham Board, which Urban advises, has commissioned its second Making the Business Case report, funded by Birmingham City Council and undertaken by BOP Consulting. We are only half way through but as with all research outputs, it looks like there will be bright spots as well as 'can do better' elements in the final report. It's already clear that digital media, from software and computer games to web design to production, has been at the heart of Birmingham's creative growth over recent years and will only increase in importance.
The case for Birmingham's creative sector - and its potential to revolutionise the UK economy - is a little like a webpage using archived material from the cache. It's time for a refresh.
Kevin Johnson is Managing Director of strategic communications consultants, Urban
Communications Limited.
For all the excellent work of public bodies including Advantage West Midlands, Birmingham City Council, Screen West Midlands and Business Link (which work together more effectively than almost any other region) and the efforts of many creative leaders and entrepreneurs, there is still a cultural gap between what might be described as the Custard Factory and Colmore Row communities.
Meanwhile, appreciation of creativity and digital does not reach into every corner of the Council House and other parts of the public sector (there I was desperately trying to avoid references to #bccwebsite...fail!).
So, when it comes to creativity, we face a cultural problem. We need to go further to embed creativity into the wider business community and public fabric.
The Work Foundation's report 'Staying Ahead: the economic performance of the UK's creative industries' touched on the importance of creativity beyond its own sector. If Birmingham's creative talent is to revolutionise the UK economy, they will have to do it through every sector of business and industry, not just creative companies.
It's time to re-articulate the case for Birmingham as a creative capital. Back in the early 2000s, Birmingham: Creative City was the shiny new toy. Those arty and clever computer types were going to be the answers to Birmingham's economic problems. As well as wealth creation, the creative industries would also help our image, visitor economy, attractiveness to investors and students as well as supporting social policy objectives. That job is far from finished. Environmental and medical technologies, modern manufacturing, financial services and many more industries have and are changing the face of our economy, but that does not mean the time for backing creative industries has passed.
With the 'c' word hanging over public spending, the case for further interventions and support from the public purse will need to be clearer and stronger than ever (and I don't disagree with many of the points made by Steff Aquarone in this space recently). Some degree of continued public support is needed to assist in the growth of this sector, particularly in areas like skills development, business advice and more importantly than ever in accessing finance.
Can the creative industries revolutionise the UK economy? Creativity can certainly play a big role, but (to paraphrase a slogan) we need to do even more locally to ensure our creative heart is connected to all parts alongside establishing Birmingham as a truly global creative city.
The Creative Birmingham Board, which Urban advises, has commissioned its second Making the Business Case report, funded by Birmingham City Council and undertaken by BOP Consulting. We are only half way through but as with all research outputs, it looks like there will be bright spots as well as 'can do better' elements in the final report. It's already clear that digital media, from software and computer games to web design to production, has been at the heart of Birmingham's creative growth over recent years and will only increase in importance.
The case for Birmingham's creative sector - and its potential to revolutionise the UK economy - is a little like a webpage using archived material from the cache. It's time for a refresh.
Kevin Johnson is Managing Director of strategic communications consultants, Urban
Communications Limited.
JFDI
Because ultimately action will come out of The Big Debate – glacier-like, not at the pace we would like, but hopefully in the right direction. The results of the conversations, I’m told, will be used with external funding agencies to review priorities moving forward; within Birmingham City University to inform what it does; it will be used with research centres; and with meetings with Birmingham City Council.
The organisers could have been better at communicating all of this – it wasn’t clear during the event – but there it is.
Likewise, the event could have been more porous: have a Twitterfall on the big screen so those participating from afar could do so genuinely. Use facilitators to show the people on the tables who don’t use Twitter how it can be genuinely conversational and productive rather than just another channel or waste of time. Have a genuinely conversational web presence.
(That said, I got to speak to people who weren’t on Twitter, which is always useful. And a physical meeting space can be just as levelling as social media, when done right.)
That’s all for next year. For now, we throw in our opinions, and we wait for the lumbering behemoths to squint and read what has been written, and then we go off and JFDI anyway.
written by Paul Bradshaw
The organisers could have been better at communicating all of this – it wasn’t clear during the event – but there it is.
Likewise, the event could have been more porous: have a Twitterfall on the big screen so those participating from afar could do so genuinely. Use facilitators to show the people on the tables who don’t use Twitter how it can be genuinely conversational and productive rather than just another channel or waste of time. Have a genuinely conversational web presence.
(That said, I got to speak to people who weren’t on Twitter, which is always useful. And a physical meeting space can be just as levelling as social media, when done right.)
That’s all for next year. For now, we throw in our opinions, and we wait for the lumbering behemoths to squint and read what has been written, and then we go off and JFDI anyway.
written by Paul Bradshaw
Beyond the Echo Chamber
Listen, for example, to Thomas Dillon the “Chairman of Creative Advantage Fund, Europe’s first public venture capital fund for the creative industries,” as he says that “one of my proudest achievements was when The Pirate Bay defendents were convicted in April this year”.
As we say on the Internet: WTF?
Then look, for example, at one of the list of actions that came out of the conference itself: ‘more networking events please’.
“More?” We can’t move for meetups and unconferences in this city. Or is that just us?
The Big Debate was about moving people out of their comfort zones and mixing them up with people from other fields – and maybe exposing parts of the region’s creative industry that we aren’t used to seeing, like the Jewellery Quarter, like the industries where Facebook is banned at work.
So yes, there are people in this region who do think that the 3 Strikes concept is a good one; and clearly there are people who are not so plugged in as to be spoilt for choice when it comes to choosing which social media networking event to attend that week.
There are also, I discovered, people who feel excluded from the ‘Birmingham clique’.
And there are people in the room who have not read We Think. And there are people who think social media is a “channel” to sell things. (And if the history of Web 1.0 is any guide, it may well become that).
So getting them to listen to Charles Leadbeater (who, by the way, was a great speaker and a credit to the ambition of the organisers) say that they should make Birmingham “a home for pirates” is important.
Likewise, understanding why they might disagree with Leadbeater is important too, because if you want to persuade these people to do the right things to support creative media, then you have to make the most effective argument, which means listening.
Ultimately the whole event is an exercise of power. Use your vote – have a voice – because if you don’t, and let ignorance exercise power unchallenged, then you can’t complain when the other side does something you don’t like.
written by Paul Bradshaw
As we say on the Internet: WTF?
Then look, for example, at one of the list of actions that came out of the conference itself: ‘more networking events please’.
“More?” We can’t move for meetups and unconferences in this city. Or is that just us?
The Big Debate was about moving people out of their comfort zones and mixing them up with people from other fields – and maybe exposing parts of the region’s creative industry that we aren’t used to seeing, like the Jewellery Quarter, like the industries where Facebook is banned at work.
So yes, there are people in this region who do think that the 3 Strikes concept is a good one; and clearly there are people who are not so plugged in as to be spoilt for choice when it comes to choosing which social media networking event to attend that week.
There are also, I discovered, people who feel excluded from the ‘Birmingham clique’.
And there are people in the room who have not read We Think. And there are people who think social media is a “channel” to sell things. (And if the history of Web 1.0 is any guide, it may well become that).
So getting them to listen to Charles Leadbeater (who, by the way, was a great speaker and a credit to the ambition of the organisers) say that they should make Birmingham “a home for pirates” is important.
Likewise, understanding why they might disagree with Leadbeater is important too, because if you want to persuade these people to do the right things to support creative media, then you have to make the most effective argument, which means listening.
Ultimately the whole event is an exercise of power. Use your vote – have a voice – because if you don’t, and let ignorance exercise power unchallenged, then you can’t complain when the other side does something you don’t like.
written by Paul Bradshaw
On Monday I attended The Big Debate, an event organised by Birmingham City University with The NEC Group and the Birmingham Post that tasked itself with the question “Can the Midlands’ creative industries revolutionise the UK economy?”
The question itself became less interesting to me than the reaction to the debate from the social media scene in Birmingham. The Twitter stream of reaction is appeared to run along the lines of ‘Same old stuff’; ‘Stop talking about it and just do it already’; and ‘You don’t get it’.
I’ve experienced the same frustration myself at many media conferences. As Pete Ashton put it so well: JFDI.
But this was not a media conference: it was a conference for the people in industry who don’t get it, who can’t do it already, and to whom this is still very new stuff indeed.
Written by Paul Bradshaw
The question itself became less interesting to me than the reaction to the debate from the social media scene in Birmingham. The Twitter stream of reaction is appeared to run along the lines of ‘Same old stuff’; ‘Stop talking about it and just do it already’; and ‘You don’t get it’.
I’ve experienced the same frustration myself at many media conferences. As Pete Ashton put it so well: JFDI.
But this was not a media conference: it was a conference for the people in industry who don’t get it, who can’t do it already, and to whom this is still very new stuff indeed.
Written by Paul Bradshaw
Is it a question of "Can" or "Why should" the Midlands' Creative community drive the UK economy?
When looking at the figurehead question of the Big Debate - "Can the Midlands' creative industries revolutionise the UK economy ?", I immediately ask myself why the question is not "Why the Midlands creative industries should drive the re-ignition of the UK economy".
As a partner in a business that works within the digital community of the Greater Birmingham Region, it is quite clear that the creative talent within the City matches, if not exceeds the aims and objectives of the City of Birmingham to become the "Digital Capital of Europe". Therefore, my thoughts on the debate are not so much "Can we do it?" than "We should be doing it already." before the opportunity to make a real impact becomes another "If only we had.........."
As many marketers will tell you, it can be wise to spend more during recessionary periods as the monies spent often garner "more bang for their buck" in the terms of reaching the right people.
Technological platforms for use in creative industries are no different. In fact, I feel that to be seen as being pro-active to utilise cutting-edge techniques during these times shows an ability to not live in fear of tough economic times and instead show that such events demand some kind of change in order for SME's to prosper.
Using the creative industries and digital technology, such as that mentioned in the Digital Britain Report, will allow the Midlands to re-ignite an area of the UK economy and become flag-bearers for the digital generation. By combining the enthusiasm of local authorities to take action instead of apathy, inspire businesses to take control of driving their industries forward and interact with the students of the Midlands, who will help to drive this technology for the next ten years and beyond, the Midlands could just be in a position to make the "Digital Britain Report" come alive.
By Mark Howells, Pebu
As a partner in a business that works within the digital community of the Greater Birmingham Region, it is quite clear that the creative talent within the City matches, if not exceeds the aims and objectives of the City of Birmingham to become the "Digital Capital of Europe". Therefore, my thoughts on the debate are not so much "Can we do it?" than "We should be doing it already." before the opportunity to make a real impact becomes another "If only we had.........."
As many marketers will tell you, it can be wise to spend more during recessionary periods as the monies spent often garner "more bang for their buck" in the terms of reaching the right people.
Technological platforms for use in creative industries are no different. In fact, I feel that to be seen as being pro-active to utilise cutting-edge techniques during these times shows an ability to not live in fear of tough economic times and instead show that such events demand some kind of change in order for SME's to prosper.
Using the creative industries and digital technology, such as that mentioned in the Digital Britain Report, will allow the Midlands to re-ignite an area of the UK economy and become flag-bearers for the digital generation. By combining the enthusiasm of local authorities to take action instead of apathy, inspire businesses to take control of driving their industries forward and interact with the students of the Midlands, who will help to drive this technology for the next ten years and beyond, the Midlands could just be in a position to make the "Digital Britain Report" come alive.
By Mark Howells, Pebu
Thursday 29 October 2009
Can the Midlands Creative Industries Revolutionise the UK economy?
How it is: The city of Birmingham has represented different things to theBritish at different times. It is, above all, a city of purpose, grown in the whiteheat of manufacturing when industry¹s natural resources of iron, coal, waterand people, were on its door-step. From here it played a key role in worldhistory, an international powerhouse. Industry literally shaped the fabric of the city,causing it to be described by Birmingham born H.V.Morton in 1926, as that monster.
The past, as they say, is another country and in the past cities (monstrous or not) had distinct roles. Coventry made cars, Nottingham made fabric and lace and Birmingham made stuff of steel : the nibs and type faces to inform the world alongside the weaponry to fight for our current freedoms. In turn the Nazi air force of the second world war disfigured the face of the city with repeated bombings. But like a great-undefeated heavy weight champion its scars of missing buildings and altered features simply lent it more character and the space to develop infrastructure, leading it to be cited as one of the best cities to live (2007 Mercer index).
More recently, the city has suffered from the global shifts in manufacturing, a lack ofinvestment, strained transport links, as well as the British inherit snootiness about Œtrade¹. If you add a recession, a bit of complacency and the kind of national inverted snobbery that other world manufacturing city¹s such as Milan, Berlin, Barcelona, Chicago, Shanghai, Houston, Singapore, Osaka simply do not face,(their populations also speak with distinct accents) you end where we are now. The region has the highest unemployment rate in the UK (10.5 %) 282 thousand people, 55 thousand of whom are 18 years of age.Yet the city boosts some amazing advantages, a virtual tool kit for world success, so why is it not exploiting them? Two European comparisons are worth considering: The Randstad region of the Netherlands, and the Italian approach (faulty but interesting).The Randstad manufactures everything from tobacco, and underwear to information technology. It has survived by taking a holistic approach to its use of creativity, visual communication and manufacturing. It uses its young designers, making real and permanent connections to the country¹s excellent design schools (a blind spot in the UK - where graduate leave either the country or the industry they were trained in to find work). This has resulted in an impressive array of R&D facilities, linguistics (the Achilles heel of the British), logistics (another difficult area for us) and a commanding grasp of visual and graphical communication (information design and typography has always been the USP of Dutch art schools). Together this means that they communicate to the world in a global and sophisticated manner.
The Italian approach is interesting too - the journey from concept (idea and visualisation) to prototypes (one offs or limited editions) through to finishing and marketing and branding is a rapid one. New ideas and products are developed and market tested in small regional batches, a kind of Couture Fashion approach to design and manufacture. This allows the designers to see if their product sells at home and test how they might sell abroad. These products are then aggressively marketed in extremely sophisticated ways. They use British know-how, both employing our graduates and/or agencies. As a result the use of adverting and branding, graphic communications and the grasp of web-based marketing is impressive and organised. Try putting into ŒItalian Manufacturing Google and you will arrive at : http://www.italianbusinessguide.com/find_italian_manufacturing_suppliers.htm
While not quite a one-stop shop of firms, designers, suppliers and developers for all your needs, it not bad.If, conversely, you put British manufacturing into Google you get a diatribe of depressing newspaper reports on the dire state of our economy. There is no mention of the positive achievements in the economy by both industry and University sector.
In my University faculty at BIAD, for example, we have enjoyed substantial and sustained investment in world leading research and teaching. Many students and businesses have already benefited from access to the most up to date analogue skills and traditional vocational skills, attributes that form the creative hub of any economy. These have been enhanced by the provision of cutting edge digital technology and teaching that was rated as excellent in our most recent inspection. This is not supposed to be an advertisement for the University or my school, but it is important to see what is available as a potential resource for the whole region in these challenging times. Going to study at Art school did change my life and has positively changed the lives of countless students. Businesses nationallyand internationally have benefited from my school¹s activities. Traditional skills are back and needed in the changing face of the city.If we are a monster or at least a giant, let us act on the advantagesthat this size might bring us. We have the world leading jewellery school,the fabulous Conservatoire of Music, one of the best architecture courses inthe world boasting Ruth Reed as the first female President of the RoyalInstitute of British Architects - the Art school on Margaret Street which predates the Slade and is still sexy and vibrant, the wonderful School of Fashion and Textiles - a world force, as is three dimensional design, the TID which focuses on some of the most sophisticated engineering in the world and the faculty of media – a one-stop shop for all forms of broadcasting. My own school of Visual communication in BIAD is the biggest in Europe and one of the most successful in the world.This has helped to place the graphic practitioner at the centre of the wider creative industries debate. Businesses of all sizes and content are starting to understand that, without the appropriate and contemporary use of branding, photography, animation and moving image, illustration indeed all forms of visual and graphic design and communication, their businesses cannot survive.
We have partners all over the world and we do not lack the means to help theeconomy from student placements to knowledge-transfer partnerships. From a student / graduate perspective the courses in my school have provided treasure houses of teaching, sector leading research and resources. Students need to know that when they leave they can stay and draw business into the city. They need business mentors and opportunities to make places like Fazley Street and the Custard Factory national centres of excellence, promoting this new wave of talent. Their perspective is already international and their skills and ideas know no limits .The next generation are highly motivated, organised, with skills in both traditional skills such as drawing to digital design. They are already here with ideas that could shape the future again and they are the platform from which the Midlands can play an important role in stimulating the future creative economy.
Mario Minichiello, is Head of Department of the School of Visual Communication at Birmingham City University with fifteen years national and international illustration experience. His artwork, which has covered everything from Beirut hostage releases to spy catcher trails has engaged audiences visual attention to high profile news events and his contribution to BBC Newsnights reporting contributed in them winning the BFTA Award for news and current affairs. Mario is active within the graphic and design community and contributes widely to research for animation and illustration.
The past, as they say, is another country and in the past cities (monstrous or not) had distinct roles. Coventry made cars, Nottingham made fabric and lace and Birmingham made stuff of steel : the nibs and type faces to inform the world alongside the weaponry to fight for our current freedoms. In turn the Nazi air force of the second world war disfigured the face of the city with repeated bombings. But like a great-undefeated heavy weight champion its scars of missing buildings and altered features simply lent it more character and the space to develop infrastructure, leading it to be cited as one of the best cities to live (2007 Mercer index).
More recently, the city has suffered from the global shifts in manufacturing, a lack ofinvestment, strained transport links, as well as the British inherit snootiness about Œtrade¹. If you add a recession, a bit of complacency and the kind of national inverted snobbery that other world manufacturing city¹s such as Milan, Berlin, Barcelona, Chicago, Shanghai, Houston, Singapore, Osaka simply do not face,(their populations also speak with distinct accents) you end where we are now. The region has the highest unemployment rate in the UK (10.5 %) 282 thousand people, 55 thousand of whom are 18 years of age.Yet the city boosts some amazing advantages, a virtual tool kit for world success, so why is it not exploiting them? Two European comparisons are worth considering: The Randstad region of the Netherlands, and the Italian approach (faulty but interesting).The Randstad manufactures everything from tobacco, and underwear to information technology. It has survived by taking a holistic approach to its use of creativity, visual communication and manufacturing. It uses its young designers, making real and permanent connections to the country¹s excellent design schools (a blind spot in the UK - where graduate leave either the country or the industry they were trained in to find work). This has resulted in an impressive array of R&D facilities, linguistics (the Achilles heel of the British), logistics (another difficult area for us) and a commanding grasp of visual and graphical communication (information design and typography has always been the USP of Dutch art schools). Together this means that they communicate to the world in a global and sophisticated manner.
The Italian approach is interesting too - the journey from concept (idea and visualisation) to prototypes (one offs or limited editions) through to finishing and marketing and branding is a rapid one. New ideas and products are developed and market tested in small regional batches, a kind of Couture Fashion approach to design and manufacture. This allows the designers to see if their product sells at home and test how they might sell abroad. These products are then aggressively marketed in extremely sophisticated ways. They use British know-how, both employing our graduates and/or agencies. As a result the use of adverting and branding, graphic communications and the grasp of web-based marketing is impressive and organised. Try putting into ŒItalian Manufacturing Google and you will arrive at : http://www.italianbusinessguide.com/find_italian_manufacturing_suppliers.htm
While not quite a one-stop shop of firms, designers, suppliers and developers for all your needs, it not bad.If, conversely, you put British manufacturing into Google you get a diatribe of depressing newspaper reports on the dire state of our economy. There is no mention of the positive achievements in the economy by both industry and University sector.
In my University faculty at BIAD, for example, we have enjoyed substantial and sustained investment in world leading research and teaching. Many students and businesses have already benefited from access to the most up to date analogue skills and traditional vocational skills, attributes that form the creative hub of any economy. These have been enhanced by the provision of cutting edge digital technology and teaching that was rated as excellent in our most recent inspection. This is not supposed to be an advertisement for the University or my school, but it is important to see what is available as a potential resource for the whole region in these challenging times. Going to study at Art school did change my life and has positively changed the lives of countless students. Businesses nationallyand internationally have benefited from my school¹s activities. Traditional skills are back and needed in the changing face of the city.If we are a monster or at least a giant, let us act on the advantagesthat this size might bring us. We have the world leading jewellery school,the fabulous Conservatoire of Music, one of the best architecture courses inthe world boasting Ruth Reed as the first female President of the RoyalInstitute of British Architects - the Art school on Margaret Street which predates the Slade and is still sexy and vibrant, the wonderful School of Fashion and Textiles - a world force, as is three dimensional design, the TID which focuses on some of the most sophisticated engineering in the world and the faculty of media – a one-stop shop for all forms of broadcasting. My own school of Visual communication in BIAD is the biggest in Europe and one of the most successful in the world.This has helped to place the graphic practitioner at the centre of the wider creative industries debate. Businesses of all sizes and content are starting to understand that, without the appropriate and contemporary use of branding, photography, animation and moving image, illustration indeed all forms of visual and graphic design and communication, their businesses cannot survive.
We have partners all over the world and we do not lack the means to help theeconomy from student placements to knowledge-transfer partnerships. From a student / graduate perspective the courses in my school have provided treasure houses of teaching, sector leading research and resources. Students need to know that when they leave they can stay and draw business into the city. They need business mentors and opportunities to make places like Fazley Street and the Custard Factory national centres of excellence, promoting this new wave of talent. Their perspective is already international and their skills and ideas know no limits .The next generation are highly motivated, organised, with skills in both traditional skills such as drawing to digital design. They are already here with ideas that could shape the future again and they are the platform from which the Midlands can play an important role in stimulating the future creative economy.
Mario Minichiello, is Head of Department of the School of Visual Communication at Birmingham City University with fifteen years national and international illustration experience. His artwork, which has covered everything from Beirut hostage releases to spy catcher trails has engaged audiences visual attention to high profile news events and his contribution to BBC Newsnights reporting contributed in them winning the BFTA Award for news and current affairs. Mario is active within the graphic and design community and contributes widely to research for animation and illustration.
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