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All Access by Stefan Bucher

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Job no:81378-5 Title : RP_All Access (New PB Verdions) Client : Pro-vision
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175 Size : 203.2(w)254(h)mm Co : M6 (mac J)
Dept : DTP D/O : 22.10.05 (Job no:000000 D/O : 00.00.04 Co: CM0)
5th Black
p59
59
I
still think out of all the disciplines, graphic design is the broadest. That’s why I was drawn
to it. I liked the idea that you could end up designing a typeface, making a film, or even
designing clothes. Potentially, there can be a large crossover into lots of different media—
and that’s a really healthy thing.”
Born in 1973, Tom Hingston grew up in Lewisham, in the southeast part of London. Creativity
runs in his family. “My dad’s a silversmith; my mum a florist. From quite an early age I became
aware that I had some sort of raw artistic talent, and both my parents actively encouraged me
to go off and explore this. They were never concerned that I should concentrate on anything
academic, even though neither of them had ever made a great deal of money doing what they
did. It was about being happy in what you do that’s more important. Experiencing the love
they had of their individual crafts was a big influence on me.”
Being a boy with an interest in the arts, Hingston found himself in a favorable spot. “Up to the
age of about eleven, my mum would often take me to art exhibitions and events. Living in
London is a fantastic resource for that. In my early teenage years I’d take myself—getting the
train after school to go and see shows like Hockney at the Tate and later Neville Brody’s
exhibition at the Victoria and Albert Museum. That had a really profound effect on me. It made
me realize what a broad area this facet of design was and how much of our culture it affected.”
Hingston left school at the age of sixteen to study at the London College of Printing and later
went on to get his undergraduate degree at Central St. Martins. “Toward the end of
St. Martins, I felt my time in education had reached a point where I could no longer gain
anything from being in an environment like that. For me, the challenge of working and
applying my approach to projects in the commercial environment was far more stimulating.”
Tom Hingston has revealed himself to be at the forefront
of a music-packaging renaissance that flies in the face
of shrinking sales and the migration to online music distribution.
Like relics from a future past, his designs shine
with special effects of feature-film quality
and move with a debonair grace that belies his age.
TOM
HINGSTON
1994 1998
NOW
All_Access_058-109-10-13-05-M6.qxd 10/24/05 3:55 PM Page 59
Job no:
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#
1
Dept : D
Job no:81378-5 Title : RP_All Access (New PB Verdions) Client : Pro-vision
Scn :
#
175 Size : 203.2(w)254(h)mm Co : M6 (mac J)
Dept : DTP D/O : 22.10.05 (Job no:000000 D/O : 00.00.04 Co: CM0)
p60
5th Black
1995
22
1996
23
1994 1998
Faze Action, Plans & Designs,
record sleeve One of Hingston’s
early successes, this 1995 sleeve
for the British dance act Faze Action
shows him moving from the neces-
sary simplicity of his flyer work toward
more complex compositions.
NEVILLE TAUGHT ME A GREAT DEAL.
IN MANY WAYS HIS STUDIO IS
HOW COLLEGE SHOULD HAVE BEEN.
HE ENCOURAGED ME
TO LOOK AT ALL PROJECTS
AS PART OF AN ONGOING
LEARNING PROCESS.”
All_Access_058-109-10-13-05-M6.qxd 10/24/05 3:55 PM Page 60

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