Life in Italics
by Helen Walters
New Zealand graphic designer
Catherine Griffiths lives on the edge of the world and the edge
of design — and that suits her just fine, thank you.
In our increasingly fragmented
and media-driven times, it’s more challenging than ever for designers to avoid
being pigeonholed. Being too competent in any one field or too
proficient in any one medium is, it seems, a surefire way to chain
oneself to that discipline forevermore. For Wellington, New Zealand,
designer Catherine Griffiths, however, diversity and continual
experimentation are not optional. “I have always involved
myself with people of other disciplines, discovering common ground
between lines of work, to enrich and broaden my own thinking,” she
says. “I’m not an academic; I am a thinker and maker
of things. I am inspired by the environment about me, wherever
I am.” Griffiths, 40, was trained to be a traditional print
designer, but her experiments often do incorporate the natural
or built world.
Take her work on the
Wellington Writers Walk. In 2000, Griffiths was invited by the
Wellington branch of the New Zealand Society of Authors to design
a series of A4 bronze plaques — a fairly common exercise — to honor local writers
and poets and to be installed in the city’s Civic Square.
Rather than adhere to the tried and tested route, however, she
proposed a radically different approach. “I saw this project
as an opportunity to work typographically with the poetry and prose
of the writers,” she says. “I knew at the outset that
what I was thinking would be beyond anything the committee had
imagined, but the motivation for me was celebrating their words,
their language, their voices,” she explains. “How could
this not be an opportunity to use the very tool I had, and push
it for all it was worth? It was so obvious to me.”
She designed a series
of 15 astonishing, large-scale concrete text sculptures that
were positioned along the city’s
waterfront. Writings by New Zealand authors including Bill Manhire,
Katherine Mansfield, and James K. Baxter are set in blocks of either
Helvetica Extra Compressed or Optima type, to varying but always
impressive effect. The Wellington design community took notice
immediately. “Their discreet elegance provides a delightful
engagement that lifts my aesthetic spirit, with words that resonate
of Wellington,” says locally based creative consultant Len
Cheeseman. “And as Wellington is not a city rich in good
lettering, her contributions enhance the urban experience.” For
her part, Griffiths was delighted to have transcended the traditional
expectations of a graphic designer. Or, as she puts it: “Suddenly
I’d leaped off the printed page and into the landscape — in
front of everyone.”
The Writers Walk has
led to other environmental projects, including a commission to
work on Ponatahi House, a private residence north of Wellington.
Having suggested that the owners “wrap
their house in literature,” Griffiths commissioned texts
from Jenny Bornholt, a former New Zealand poet laureate, and designed
a series of 120 glass panels that form a typographic skin around
the upper level of the exterior walls, windows, and terraces, converting
the house into a unique, exquisite piece of typographic architecture.
It’s the ultimate melding of creative disciplines.
Griffiths has defined
design on her own terms from an early age. As it happens, she
had no idea what “design” really
was until she went to college in 1984. But having chosen to study
the radically leftfield course of Visual Communication Design at
Wellington Polytechnic, Griffiths discovered a whole new world:
type. “Our tutor, Hamish Thompson, opened our eyes to typography
and its wider, exotic being, its potential for expression,” she
remembers. “He had just returned to New Zealand after studying
at the Basel School under Armin Hoffman and Wolfgang Weingart and
then teaching in Phoenix, Arizona. Suddenly, we were examining,
exploring, and experimenting in a way that astounded me. The language
of the letterform took on a whole new meaning. It was exhilarating.”
After graduating from
the Polytechnic, Griffiths set up a short-lived local firm, Design
of the Times (an unsubtle homage to Prince and Sheila E — “We were still so very
young!” she admits, a bit sheepishly). In 1988, she moved
to London to work at various firms, including “imploding” design
giant Sampson Tyrrell. It was a truly influential time. “In
those early years in London, I learned the formulae and formalities
of British design. I learned restraint, refinement, and attention
to detail — qualities that have unquestionably lingered with
me,” she says, naming the likes of The Partners, Carroll,
Dempsey and Thirkell, and Newell & Sorrell as huge inspirations. “This
wider world presented other disciplines and other passions that
have affected the way I see, think, behave, and respond across
every part of my life, including typography and design. It is all
entwined in the best of ways, sometimes to a delicious bursting
point.” It’s a typically lyrical description, and though
her time at Sampson Tyrrell was challenging and educational, albeit
not entirely happy — “I discovered I was dispensable” — her
philosophy and outlook remain very much the same to this day.
Having returned to New
Zealand in 1991, she continues to experiment restlessly, devoting
her life to her work and aiming to ensure that both are as fulfilling
and pure as possible. Her singularity of vision is demonstrated
clearly in a body of work that defiantly crosses all categories
and forms of media. Her exquisitely detailed graphic design emphasizes
strong, beautiful typography on her work for a variety of cultural
organizations and clients, including Creative New Zealand; the
Ministry of Research, Science and Technology; and Victoria University
of Wellington. “As
an individual, I am on the fringe, really, a practitioner with
ideas,” she says. “I find that fringe territory useful
to explore my ideas, to focus, with an occasional foray into the
mainstream. I have no desire to embroil myself in design politics,
or philosophical or personal agendas. I do my thing, my way.” Griffiths
is to the side of the industry, perhaps, but in no way is she sidelined — rather,
she is able to pursue her genuine interests without having to compromise. “From
the outset, I made a conscious and firm decision not to employ
staff and not to develop an expanding design house,” she
says. “I wanted to remain a creative spirit, independent
and focused on my work, free from management beyond the essential,
and to maintain a seamless and unimpeded designer-client bond.”
Hers is a rare stance
of staunch defiance that’s
somehow appropriate for a designer based in a world that itself
is so far removed from the large scales of American or European
design. As she describes, “There’s a very strong DIY
mindset here. ... While we’ve never really had our own
culture of design — our aesthetic is adopted and rehashed — what
is emerging is a sense of this place, and an attitude.”
“New Zealanders like to think of themselves
as being independent and part of a can-do society, and Catherine
certainly displays those qualities in her work,” adds Fraser
Gardyne, co-founder of Auckland- based design practice GardyneHOLT
and until recently the president of the Designers Institute of
New Zealand. “She is both a big-picture person and one who
focuses on detail. Her work is original and based on strong ideas,
and I don’t think that compromise would be a word she would
value.” As such, Griffiths is happy to stand both within
and without, preferring simply to play by her own rules. “I’ll
happily dump clients if the relationship becomes counterproductive
without considering, for a second, the consequences to turnover
and income — well, perhaps a tiny bit! Time is too short.”
For the past few years,
the environment of work and home has been one and the same, with
Griffiths working from a studio built on the ground floor of
the four-story Wellington house she shares with her photographer
husband Bruce Connew. When not on assignment, Connew himself
works upstairs, and the pair often collaborate professionally:
Griffiths has designed all of her husband’s books since
1995. Their working relationship is not always seamless, and
it shines a helpful light on her approach and attitudes. “Bruce’s
new book, Stopover, is about migration and the Indian sugarcane
cutters of Fiji,” she
says by way of example. “We had a moment the other day, and
sometimes this is how our collaboration works — with a little
bit of tension. He didn’t accept that the draft cover I had
designed worked ... and said I had not given it my full and undivided
attention, my passion and feeling.” With typical frankness,
she adds, “Which indeed was true. However, we worked through
the problem with civility and kindness and realized we had left
out a vital step — the sort of difficulty that can develop
with familiarity. We had failed to discuss, with purpose, what
the cover should express. Once we conferred — the cover should
be about migration, about people connecting and disconnecting at
different points about the globe — I was able to bring my mind
to the meaning and express myself.”
New challenges are certainly
always welcome. The latest is the prospect of travel and fulfilling
a long-held dream to live and work in France. “My plan is to spend more
time in Paris and make other work — including my own projects,
whether that be book and exhibition design, collaboration in architecture,
or installation,” Griffiths says. “I want to make work
that engages people, whether it takes them out of their comfort
zone or not. If they want to add to the experience, even better.”
Helen Walters / Print,
New York, Sep-Oct 2006
Helen
Walters (at the time of writing) was editor of Innovation and
Design at Bloomberg BusinessWeek. She is also a contributing editor
to design magazine Creative Review. Walters is the author of several
books, including a survey of experimental animation, a monograph
of a Brooklyn design agency, and a series of titles featuring contemporary
T-shirt graphics.
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04 writing & critique
An installation on an installation on an installation ...
Artist statement, »catherine griffiths : SOLO IN [ ] SPACE« A documentation, Pocca, CHINA
September 2021
Porto Design Summer School 2017
Looking back on the fifth edition
April 2018
Notes from ‘Designing the perfect photobook’
A short talk as part of a panel discussion, PhotobookNZ
March 2016
A meditation
Sir Ian Athfield, 1940 — 2015
by Catherine Griffiths
Architectural Centre, NZ
April 2015
The Design Kids interview
The Design Kids, Jul 2015
A Playlist : CG >> CG
by Catherine Griffiths
DPAG Late Breakfast Show, NZ, Aug 2014
Body, Mind, Somehow: The Text Art of Catherine Griffiths
by Gregory O’Brien
Art New Zealand #150, NZ, 2014
Nothing in Mind
by Chloe Geoghegan
typ gr ph c, Aug 2014
typ gr ph c in Strips Club
by Catherine Griffiths
Strips Club journal, Mar 2014
In the Neighbourhood
by Catherine Griffiths
Desktop #294, Australia, 2013
Interview by Heath Killen
Desktop #294, Australia, 2013
FF ThreeSix
by Catherine Griffiths
Typographica, Mar 2013
A note on the D-card
by Catherine Griffiths
Apr 2013
She’s Got Legs
by Lee Suckling
Urbis, NZ, Jan 2013
Truly, No Idea
by Catherine Griffiths
for Flash Forward, Desktop, Australia, Nov 2012
Look for the purple lining
by Catherine Griffiths
Eye Blog, UK, Mar 2012
Q&A TBI
The Big Idea, NZ, Jun 2011
Shots in the air
by Catherine Griffiths
Eye Blog, UK, Jan 2011
John & Eye
by Catherine Griffiths
ProDesign 110, NZ, Jan 2011
Quite a Blast
by Catherine Griffiths
ProDesign, NZ, Jan 2011
Inner-City Modality
by Mercedes Vicente
ProDesign, NZ, Aug 2010
Beautiful World of Typography
by Catherine Griffiths
excerpt from a talk, Govett-Brewster Gallery, NZ, Jun 2009
For the record
by Catherine Griffiths
Introduction to TypeSHED11, NZ, Feb 2009
Locating Our Feet
by Catherine Griffiths
Threaded, NZ, Oct 2008
Notes
on Feijoa
by Catherine Griffiths
ProDesign, NZ, Apr 2007
Life in Italics
by Helen Walters
Print, New York, Sep-Oct 2006
Writing by
Types
by Justine Clark
Artichoke, Australia, Apr 2003
Life in Italics
by Helen Walters, editor of Design and
innovation at Bloomberg BusinessWeek
Print,
New York, Sep-Oct 2006
related links
www.printmag.com
www.helenwalters.com
www.bruceconnew.com
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