This Halloween season, FEAR, the UK’s most renowned and award-winning Scream Park, opens its gates to the public once again, inviting those brave enough to join in on hair-raising, blood-curdling fun.
Located at one of the South West’s best loved attraction locations, Avon Valley, FEAR Scream Park is a captivating multi-sensory immersive event which has taken place every October since 2014.
The 2023 scare season starts on Friday, October 13th for 13 nights of unadulterated frights for over 16s.
The award-winning line-up includes X4, VITA NOVA, Malefica, House of Clowns, and The Core. But that’s not all, FEAR Scream Park also boasts its notorious Titans of Terror fire show, exhilarating funfair rides, and iconic street entertainment, offering a fully immersive experience, filled with terror.
On top of the five bone-chilling attractions, there is also the theatrical scare experience known as The Exorcism. Guests can witness an immersive exorcism in a gripping sit-down encounter. This one-of-a-kind attraction promises an unparalleled level of terror for those daring enough to face it.
Consistently recognised as the epitome of #ABloodyGoodNight, FEAR Scream Park has garnered several industry accolades. It was the first Scream Park to win UK’s Best Scare Event twice and the first Scream Park to win Best Attraction and UK’s Best Scare Event in the same year. Additionally, FEAR is the first Scream Park to have a fire show, and create the first attraction in the UK to be partially submerged in water!
Tickets are available for purchase here: https://bookings.fearscreampark.co.uk/book
Commenting on the upcoming scare season, Lizzie Arkley, Marketing and Communications Manager said, “we are more excited than ever for this year’s scare season, with some new scenes added to attractions, the return of the Exorcism, adrenaline seekers have so much to look forward to!
“We love nothing more than pushing boundaries and delivering thrills with a huge array of multi-sensory theatrics, to leave guests with lasting memories. Whether you’re a die-hard horror fan or looking for a fun night out with a difference, we’ll definitely get your heart racing with a night to remember!!”
Event Information:
About FEAR Scream Park:
FEAR Scream Park is a multi-award-winning Halloween event, pushing boundaries and pioneering new forms of entertainment within the scare industry. Priding themselves on delivering thrilling, unique, and terrifying scare experiences to customers. The event consists of five scare attractions, two unique theatrical scare experiences and a roaming theatrical street team.
Hospitality, retail and branding designers Phoenix Wharf have completed a clever and colourful refurbishment of hospitality outlet Old Chang Kee in Covent Garden. The Singaporean family-run operator opened its first two UK stores in Covent Garden’s New Row in 2018 and on Goodge Street, also in London, at the end of 2019. The client, UK franchisee Sandra Leong, commissioned Phoenix Wharf to redesign the Covent Garden site earlier this year to improve spatial issues and make the store more modern and memorable. The fast-turnaround project has seen most of the new interior and furniture pre-assembled off-site to minimise store closure times and to allow the venue both to close and re-open over the course of August, with minimal final refinements completed in September.
‘The Old Chang Kee food offer had been incredibly well-reviewed since the brand opened in the UK’, Phoenix Wharf Creative Director Emma Carter explained. ‘The logistics of the existing Covent Garden site, however, offered definite room for improvement, with the store’s small existing servery counter, for example, necessitating people having to queue outside and stand aside each time someone came out. The interior colours were rather muted and the menus not clearly visible until you were inside, making the offer challenging for anyone previously unfamiliar with it.’
Old Chang Kee was originally established in Singapore in 1956 in the form of a humble stall, quickly becoming famous for its curry puffs – the Singaporean answer to the pasty, samosa or empanada. The stall attracted customers from far and wide, including many British people before the dissolution of the Crown colony in 1963. Expansion over the following decades saw the brand become a recognisable staple of Singaporean street life nationwide.
The brand’s UK outposts feature a grab-and-go concept with the aim of making authentic Singaporean street food accessible to customers in London and the UK. Its signature curry puffs – hot, buttery pastry with a spiced filling – have been lauded by eminent food critics including Giles Coren, Fay Maschler and Marina O’Loughlin. Also available on the menu are other classic Singaporean favourites, such as Nasi Lemak (coconut rice) and Laksa (rice noodles in a coconut curry broth).
The Phoenix Wharf team looked to the history and traditions of the Singaporean Shophouse in their design approach, where street food was served from ground floor premises with living quarters situated above – a set-up very much mirrored by the Covent Garden location.
The client brief was to create a more contemporary look for the outlet, moving away from the existing understated magnolia interior, decorated with lots of trinkets and wood, which had made the look and feel a little too obviously traditionally Singaporean. The Covent Garden location also has lots of local competition, with the road becoming a real foodie destination in recent years. The venue definitely needed to stand out more therefore, as well as to be easier for customers to access – and more efficient for the operator in terms of ordering and service fulfilment.
‘A clear balance needed to be struck between retaining Old Chang Kee’s brand essence and heritage and creating the desired more modern look and feel’ Emma Carter commented. ‘The bright yellow of the fascia is an established brand colour and had to stay, for example, although the tone needed to be punchier and make more of a statement, as the previous fascia had been too pale. We also introduced a blue secondary colour to the interior for the first time. This immediately adds a more contemporary note, as well as working well with the yellow. The blue has been used for the walls and features additionally in the menus and the counter-front tiling – as well as being extended to new, re-usable blue melamine crockery and chopsticks, which set off the food really well.’
Although the offer is mostly takeaway, there was also some demand for eating in, so the new layout needed to incorporate seating to meet that mission, whilst not encouraging too much dwell time, as the offer is predominantly grab-and-go there was no possibility of expansion of the very small space overall, which measures just 21.3 sqm in total. Window seating, plus two standalone tables for four were integrated, featuring loose wooden seating (re-using existing Singaporean stools), plus one new inset banquette in a teak veneer with a yellow seat pad. The banquette also has storage space incorporated beneath the seat. The new tables feature a laminate top in a rich oyster grey, which allows the food and coloured plates to stand out. Small inset planting adds a third colour into the scheme, as well as aiding acoustics and referencing the famously lush greenery of Singapore.
The previous hot food counter, located to the right as customers entered, has been replaced with a new 1.6m-counter directly opposite the entrance, with inset food tray display spaces for the curry puffs, so that people can see as they order, with a till point directly adjoining. The new counter top is a solid surface material, whilst the counter front has been clad in eye-catching and typically Singaporean Dragonera tiles, with the tiling continuing and wrapping round the right hand wall of the space.
A new gantry pelmet in plasterboard with curved timber detailing has been designed to sit above the counter, with the easily-legible menu now visible on three 50” inset illuminated digital screens. This is located well above head height and is clearly visible from the exterior. This particular store also has a step up to the entry, giving the new menu a further height advantage. The curved gantry-top detail – a shape repeated on the back wall – is a nod to the menu’s central item – the curry puff.
Storage was a big part of the new design story and the rear of the new menu and product signage – both on the rear wall and on the gantry – can be used to store items, taking takeaway packaging out of sight, for example, where it had previously been visible to customers. Behind the service counter is a new ground floor additional kitchen area (with the main food prep remaining on the lower-ground level) for sinks, hand-washing and further shelving. At the back of the public area is a condiment station with a tray drop and customer bin. A changeable poster space directly behind this also features as a concealed door to further hidden storage, making use of previously dead space above the stairs. A full-height fridge sits alongside this for customer drinks.
The rear wall of the space features new yellow tiling with a grey grout, wrapped around existing teak timber, which was too high quality to consider replacing. Further food story graphics are also integrated into this wall, along with the Old Chang Kee logo in black. A rear stair, which leads down to the lower ground kitchen area, has been discreetly sectioned off, as the occasional customer had been known to take the stair before, believing it to be a public access route.
Phoenix Wharf also had a graphic remit as part of the refurbishment, redesigning the menu and creating a new poster in a yellow frame for the right-side wall. Newly re-commissioned brand photography – featuring the new melamine serving bowls and plates – works well with the upgraded interior and graphic treatment.
‘After five years of successful trading, our Covent Garden location was in need of a redesign – both to make our grab-and-go offer more appealing, as well as to make operations a little slicker’ client Sandra Leong commented, adding that ‘this was a challenge given the tiny footprint of the site, but Phoenix Wharf were able to take a difficult brief and run with it. The new layout and design certainly have more stopping power than before and our team appreciates a better laid-out store that is operationally easier to maintain. Singaporean food and its accompanying aesthetic is also not well understood in the UK, but Phoenix Wharf put in the effort to research and understand this. I’m excited to use our new-look store as a blueprint for future locations.
Noughts & Ones, the Bristol agency dedicated to empowering planet-conscious e-commerce brands on Shopify, is thrilled to announce the appointment of Matthew Pill as the new Operations Director. This strategic move comes as the agency continues to expand its operations and services in response to the growing demand for sustainable e-commerce solutions.
Matthew Pill, who has been an integral part of the Noughts & Ones team as Senior Developer, will now take on an even more pivotal role in the agency. As Operations Director, Matthew will leverage his extensive technical expertise and industry insight to oversee the day-to-day operations, ensuring the seamless delivery of projects and retainers while maintaining a strong focus on sustainability and purpose.
Noughts & Ones has established itself as a trailblazer in the e-commerce landscape, partnering with forward-thinking brands that prioritise environmental and social responsibility. The appointment of Matthew Pill as Operations Director reinforces the agency’s commitment to excellence and sustainability.
“Matthew’s dedication to our mission and his exceptional technical skills make him the perfect fit for this role,” said Tom Locke, Founder / Sales Director of Noughts & Ones. “As we continue to work with purpose-led brands, Matthew will play a pivotal role in driving our agency’s growth, ensuring that we meet and exceed the expectations of our clients while adhering to our values.”
In his new role, Matthew will be responsible for optimising project delivery, strengthen team collaboration, and enhance the efficiency of the agency. He will also work closely with clients to ensure that their sustainability and purpose-driven goals are at the forefront of every project.
Matthew Pill commented on his new role, saying, “I am thrilled to be taking on a new role as Operations Director and I couldn’t be more excited about continuing to work with this fantastic team! I’m incredibly proud of the accomplishments we’ve already achieved at Noughts & Ones and I cannot wait for the new opportunities that lie ahead as we look to continue to contribute to a more sustainable future.”
Under Matthew and Tom’s leadership, Noughts & Ones is poised for further growth and innovation in the e-commerce industry, reaffirming its commitment to driving positive change and helping purpose-led brands thrive.
For more information about Noughts & Ones and their sustainable e-commerce solutions, please visit www.noughtsandones.com.
Noughts & Ones is a leading e-commerce agency based in Bristol, UK, specialising in creating purpose-driven and planet-conscious online shopping experiences. With a mission to empower brands that prioritise sustainability and social responsibility, Noughts & Ones delivers innovative e-commerce solutions that drive growth while making a positive impact on the planet.
Moonbase: The Next Step has been launched in two new formats at the Giant Screen Cinema Association’s (GSCA) conference.
Originally made in an immersive 4K Fulldome format, Moonbase: The Next Step will now also be available for IMAX and Giant Screens.
The additional formats will allow new audiences to go on a breath-taking lunar journey where a hostile environment tests the limits of science and engineering.
Moonraker VFX, the Bristol, UK, based visual effects studio behind Moonbase, has appointed Cosmic Picture as its sole distributor for the IMAX and Giant Screen markets.
The announcement has been made to coincide with the GSCA conference (18-21st Sept) held across venues in Cincinnati and Indianapolis, where a Giant Screen version of the Moonbase trailer was shown.
Narrated by NASA astronaut Nicole Stott, Moonbase: The Next Step is a story of human endeavour, explaining how humanity might one day fulfil its ambition to make a permanent base on the Moon.
Emmy Award winning, Moonraker VFX, has a passion for science and natural history television (having worked on the BBC’s acclaimed Earth series and National Geographic’s One Strange Rock) as well as extensive experience in Immersive Visitor Attractions.
Moonraker VFX also worked on the BBC’s Arctic: Our Frozen Planet, which swept the board at the GSCA’s awards this year, winning Best Film-Short Subject (tie), Best Film for Lifelong Learning, Best Cinematography, Best Sound Design and Best Original Score.
Jon Grafton, Managing Director and Co-Founder, Moonraker VFX, said: “We’ve had a very successful year at the GSCA conference and are very excited for Moonbase’s future with IMAX and Giant Screen audiences.
“With India’s recent successful Moon landing, space exploration is back in the news and the public imagination. Informed by our team of scientific advisers, our film is the perfect guide to recent events and future next steps in space exploration. Moonbase: The Next Step will make a great addition to the programmes of IMAX and Giant Screen venues.”
Antonietta Monteleone, President of Film Distribution at Cosmic Picture, said: “We are excited to be partnering with the highly experienced award winning team at Moonraker and look forward to bringing this immersive adventure to Giant Screen and IMAX audiences around the world.”
Please direct enquiries about Moonbase’s new IMAX and Giant Screen formats to Antonietta Monteleone, President of Film Distribution, [email protected], Tel: 914-617-8032, Mobile: 203-505-0810, https://cosmicpicture.com/.
To learn more about fulldome formats, request an information pack or for licensing enquiries contact [email protected] or visit www.moonbasethemovie.com.
We are so please to announce that we won three awards at the UK Agency Awards 2023, held in London on September 21.
We were named Best Large PPC Agency in the UK, and also won Innovative Agency of the Year and Best Campaign for our work to drive revenue for our lovely client, David Salisbury.
The UK Agency Awards celebrate the best agencies working across all verticals, from creativity and design to digital and technology, from marketing and advertising to public relations and media.
The judges praised Launch for its focus on our people; “It is great to see that this agency’s focus extends beyond just tracking performance, with a genuine emphasis on the happiness and well-being of employees, which is truly commendable, and it is clear to see the positive impact this has has on the agency and the results the team have achieved.”
Our fab founder, Jaye, was delighted with the awards; “Our mission is to be the happiest performance agency. I believe that happy people do great work, and by empowering our team to do their best, we can get great results for our clients. So, I am absolutely thrilled that as we enter the final quarter of the year the whole team is recognised for their hard work.”
User testing is analogous to asking your friends to try out a product you’ve produced, to put it simply. Consider creating a toy or game and wanting to determine whether it is enjoyable and simple to play. Similar user testing is done for websites and apps. People who didn’t build it check it out and report back on what works and what doesn’t. This makes it better and simpler for everyone to utilise websites and apps. London-based digital consultancy WeAgile will conduct user testing on your new website or app if you are one of our very fortunate and satisfied customers. Why not reach out to us right away to learn more? But now – onto User Testing.
To make user testing feasible and effective, you’ll need to take a number of actions. Here is a brief explanation of each of the steps; we will go into greater detail on some of them in the blog.
This could be a brand-new website, app, or other digital product created to address a particular user demand. The testing procedure is built upon this phase. Simply put, there won’t be anything to test without the product (even if it’s an MVP).
Based on your objectives, pick the testing approach that is best for you. (Read more about down below). Depending on the insights you want to gain, this may involve usability testing, A/B testing, or even eye-tracking experiments. Each approach presents a distinct viewpoint on user engagement and pleasure.
Find the people that most closely resemble your target market. You can be confident that the feedback you receive correctly represents the experiences and preferences of your real users by selecting participants who are representative of them. Trust us when we say it. Below, we go into further depth regarding several locations where you might discover your test subjects.
Select a suitable area to carry out the experiments. If you’re conducting online testing, this could be a controlled environment, a real-world scenario, or a remote environment. The setting ought to reflect the way users would naturally engage with your digital work. Most likely, the people who take part in your test will test your website or app from home, on their own schedule. Just always tell them when they have to turn in their results, so keep reading.
Find out how long it will take each participant to finish the test. By evaluating how long customers generally spend navigating through your digital product, you can make sure that the testing period is reasonable and doesn’t pressure participants.
Give the chosen participants access to your digital product and the essential instructions. Sharing a website or app’s link may be necessary for this. Consistent outcomes across participants are ensured by clear criteria.
Gather and assess the information and comments gathered during the testing process. This entails assessing user interactions, watching how they behave, and taking into account their input. To learn how consumers interact with your new app or website, look for patterns, insights, and pain areas.
Given that we discussed a variety of testing techniques in the preceding section, you may be asking how to do user testing for your product. There are various methods for conducting user testing because every product, prototype, and feature is unique — just like every firm. We’ll examine the three most popular ways WeAgile, a web design and development company in London, has had tremendous success with. There are various approaches that may be utilised for user testing.
In A/B testing, you split up your test subjects into groups (which could be two or more) and have them try out several iterations of your product to determine which they prefer. This enables you to determine whether version delivers your clients a better user experience and makes them happy. A/B testing involves exposing your clients (or test subjects) to various versions of your product. It’s comparable like testing various ice cream flavours to determine which one they prefer. You get to observe what actually excites your customers rather than assuming based on what you know about them. Even if you are confident in your knowledge of your clients, A/B testing may still surprise you and reveal something intriguing. There is a reason why huge companies (like Facebook) do A/B testing regularly.
It does sound a lot like user testing, don’t you think? It is not, however, the same. Before getting into the specifics, let’s first examine the distinction. The entire range of client interactions with your website or app is captured during user testing. This may include — from when they first come into contact with the object until when they cease using it, their thoughts, feelings, likes, dislikes, reactions, and behaviours related to the item. On the other hand, usability testing focuses on how and to what extent a client uses your product to accomplish a certain goal. Even if it helps to make the user experience as a whole, this isn’t the whole journey.
Giving a product, prototype, or feature to actual customers (or your test subjects) allows you to gauge how user-friendly it is. Usability is the ability of a product to be useful and simple to use. You can determine how naturally your actual users find your product, prototype, or feature by conducting usability testing.
Beta testing happens in the last stages of developing your website or app. It occurs when you present your finished product to your clients and target market and allow them to closely examine how it will look when it is ready for release. Prior to entering the market, this testing phase serves as the final customer approval.
When should beta testing be used? It’s ideal when you’re almost done creating your product and want to get one more opinion before releasing it to the public. This step gives you the chance to make any last-minute adjustments to the user experience, making sure it’s excellent for your clients. Other user tests throughout the design process ought to have been conducted before beginning the beta testing phase. This is so that only the most significant and final product upgrades are subjected to beta testing. By getting client feedback beforehand, you’ll probably only need small changes—if any—during beta testing. By using this tactical approach, you can be confident that your product is polished and prepared to shine.
A variety of measurements used in user testing are used to assess the usability and efficiency of your website or app. These metrics offer insights for improvement by quantifying user interactions, engagement, and satisfaction. Here are some metrics from user testing that you can find helpful for your website or app. Keep in mind, though, that not all of these will apply to your digital project because every website and app is different (in its own way). These metrics offer insightful data on how people interact with your websites and apps, assisting in the development of improvements and optimisations that will result in a flawless and pleasurable user experience.
Task Success Rate: this measures the percentage of tasks users successfully complete during testing, indicating how well your design supports their goals.
Time on Task: the time users spend on specific tasks. This could indicate how intuitive and efficient your design is.
Error Rate: this metric calculates the frequency of user errors during tasks, shedding light on confusing or challenging aspects of your product.
Click-Through Rate (CTR): for links or buttons, CTR measures user interaction by showing how often they click on these elements.
Bounce Rate: for websites, this measures the percentage of visitors who leave after viewing only one page, indicating a lack of engagement.
Navigation Flow: it maps users’ journey through your website or app, revealing any confusing pathways or friction points.
Satisfaction Ratings: these are often obtained through post-test surveys; these ratings provide insights into users’ overall satisfaction with the experience. You could also do short (or in-depth) interviews with the test participants if the time and resources allow.
Net Promoter Score (NPS): this measures users’ likelihood to recommend your website or app to others (be it their friends, family or promotion on social media channels). This reflects their overall satisfaction – the more satisfied they are, the more they will promote it – as simple as that.
Conversion Rate: for e-commerce sites, this measures the proportion of visitors who complete desired actions, such as making a purchase.
Scroll Depth: tracks how far users scroll down a page, showing if important content is being missed.
Time to Complete Tasks: it is what it says on the tin. This quantifies the time users/test participants need to finish tasks, revealing potential obstacles or ease of use.
User testing works like a detective, swiftly identifying the precise issue so that your team doesn’t spend time and resources on the wrong thing. It involves making a quick investment in the appropriate cause. Your product, feature, or prototype may be simple to use for your team and designers, but it could not be for your actual customers. User testing reveals areas in which your product might be more appropriate for your target market. It highlights the areas where people might become perplexed or irritated. Since user testing takes place prior to the release of your product, you can utilise this information to keep making improvements until you’ve created a user experience (UX) that you’re truly proud of.
To get insightful feedback on your digital products, you must enlist consumers to test them. If you’ve decided to attempt to do it on your own, here’s how and where to do it.
Your Network: Start by reaching out to friends, family, and colleagues who fit your target user profile. They can provide initial insights and help you refine your testing process.
Social Media: Post a call for participants on your social media accounts or in relevant groups. Explain what you’re looking for and the perks of participating (e.g. an Amazon voucher or a free subscription to your app once it launches). Platforms like Meta, LinkedIn, and X can be effective.
Online Communities: Participate in forums, discussion boards, or online communities related to your product’s niche. Engage with users, build rapport, and then invite them to test your product.
User Testing Platforms: Websites like UserTesting.com, Userlytics, and TryMata allow you to recruit users based on specific demographics. These platforms handle the recruitment process for you – easy but not always cheap. There are a couple of more you can have a look at – Helio.app (formerly Verifyapp.com), UXTweak.com.
Email Subscribers: If you have an email list, send out an invitation to your subscribers. They’re likely already interested in your product and might be willing to participate.
In-Person Events: Attend relevant meetups, conferences, or workshops. Engage with attendees and invite those who align with your target audience to participate in testing.
Universities: If applicable, approach universities and colleges to recruit students who match your user profile. Many students are open to participating in user testing.
Local Communities: Utilise local bulletin boards, community centres, or coffee shops to post recruitment flyers. This can help you find participants within your area.
Referrals: Ask your current participants if they know someone else who might be interested in testing your product. Referrals often lead to engaged participants.
Paid Advertisements: Consider running targeted online ads to reach your desired user demographic. Platforms like Facebook Ads and Google Ads can help you reach a wider audience.
User testing enables us to improve, innovate, and create digital solutions that genuinely resonate with our audience with every click, scroll, and interaction. By embracing the art and science of user testing, we not only produce useful products but also experiences that have a lasting impression on users and the digital world. Let us at WeAgile join you on this exploration as we work to improve customer satisfaction, elevate our design, and push the envelope of what is conceivable for websites and mobile applications.
Sometimes merely using words or static visuals to describe something is insufficient. Making a wireframe is the next stage once a concept for your company’s mobile app or website has taken shape. To guarantee that consumers have a flawless browsing experience, it nevertheless occasionally occurs on paper or via a dedicated tool. Interactive mockups known as prototypes are used to test the aesthetic and user experience of websites and mobile applications.
Designers and developers can demonstrate how they want something to look and function via interactive prototypes. They may test the interactions they want to use, which will aid developers in knowing what to design. Like a how-to manual for getting everything just right!
For both websites and mobile apps, an interactive prototype provides insights about user interaction at several levels. By allowing users to evaluate design usability and feasibility before to the start of the development phase, these prototypes help eliminate unforeseen problems that may arise during project execution. It acts as a sneak peek or presentation of the final look, navigation, drop-downs, and filtering capabilities of a digital product. Because of its robustness, users may thoroughly examine the system’s features, functionality, and usability in a single package. It is similar to taking a “test-drive” before buying “the car” (i.e., creating a digital product).
There are currently a lot of different options to choose from, despite the fact that it has long been a preferred pick for UX/UI design teams. Figma is used by almost four million people. It is excellent for project management, building website pages, making app prototypes, and brainstorming and mind maps. To see if it works for your needs, you can start with the free version.
Instead than being a single tool, InVision is more a collection of tools. Three tools and collaborative places are included in one membership. The first is Freehand, which is used for collaborative wireframing in real time. After that, you proceed to Studio to design screens and create interactive prototypes. Studio features a function that allows you to turn comment suggestions into tasks that can be completed. When everything is finished, use Inspect to collaborate with developers and give off designs.
This is an excellent tool for collaborating between designers and developers. After finishing your project on Webflow, you can download the HTML, CSS, and Javascript code (without really having to code anything). It will resemble something a developer would create exactly! Give your developer this code so you won’t have to worry about the front-end details any more.
Sketch provides a sizeable selection of prototyping tools. You may bring your ideas to life in ways that enhance the projects you’re working on by using tools like scrolling artboards, fixed elements, and overlays.
According to user feedback, Miro’s prototyping tool streamlines the prototyping process, making it efficient, flexible, and collaborative. Additionally handily, Miro provides wireframe and prototype templates. Over 60 million people presently use Miro, so there must be some value there. Check it out for yourself without a doubt!
Our team of designers, developers, and marketers at WeAgile, a digital agency based in the UK, has extensive experience in app development, website development, and digital marketing. Reach out to us right away and let’s start to work on your brand-new, exciting digital project or campaign!
We are today announcing that after 13 years at Bristol Creative Industries, Chris Thurling is handing over the reins as chair.
Since joining the organisation in 2010, when we were called Bristol Media, Chris has been hugely instrumental in our growth and success. That includes our rebrand, building the membership, growing our visibility and launching the groundbreaking Bristol Creative Industries Internships Programme.
Taking over from Chris as co-chairs are AMBITIOUS co-founder Lis Anderson and former Aardman executive producer Heather Wright.
As Chris hands over the role, he speaks to Dan Martin about his time at the organisation, its greatest successes and the future of the creative industries in Bristol and beyond.
“In 2010 I was the founder and managing director of a digital web design agency called 3Sixty. I was approached by Paul Appleby who was running Bristol Media with Mike Bennett. Mike was stepping down to do other things and they were looking for someone to join the board who could represent the growing digital sector in Bristol. I thought it was interesting and I signed up.”
“Bristol Media was still new when I joined. It got going with some public funding, but that stopped in 2009 and the organisation moved to a membership model to fund it.
“One of the main things I’ve seen during my time is the membership model embedding itself and the organisation becoming fully self funded and not reliant on any public money or major sponsorship.
“It has survived through the membership fees which is a pretty good achievement for an organisation like BCI. That has given it credibility and autonomy. BCI exists because of its members and the only agenda is the members who support it, and not that of another organisation that is funding it.
“It has matured as an organisation to figure out what it does and what it doesn’t do. Back in the day it was pulled in lots of different directions. There were lots of people wanting Bristol Media to fit their agenda, but over time it has grown in confidence to focus on the things that it does well, not be unrealistic about what it can achieve and not be too thinly spread.”
“We had feedback that the term ‘media’ wasn’t really the collective noun that properly described the sector that we represent. Back in the early noughties, ‘media’ might have been the right word, but over time the term ‘creative industries’ gained traction and became the common parlance.
“It seemed sensible to align ourselves with the terminology that everyone was using, so it’s clear who we are and what we represent. That was one of the first things I decided we needed to do when I took over as chair. Looking back, it has been successful.”
“It is an achievement that the organisation has been financially stable and self-sustaining, even during the pandemic. That has enabled us to continue to serve members and grow the BCI team.
“Another big achievement is the new BCI board, which we appointed following the rebrand in 2021. Our focus was to have a new team of directors to help us Bristol’s creative industry in nurturing and attracting talent, connecting and growing their businesses.
“We recognised the need for our board to better reflect the diversity of talent in the city. We need individuals who can bring different perspectives and experiences and help us widen our reach across the region. An example of that is Bristol designer Marissa Lewis-Peart who we appointed to the board. In 2019, Marissa won the Ben Martin Apprentice Award in collaboration with Bristol Creative Industries.
“We introduced a new always on event schedule led by Sian Pitman, the new full time events manager we employed last year. Rather than the main focus being on the two day Vision conference that we used to run, the events are now spread out across every month in the year. This means there is something for everyone in terms of topics and price range, with some free options for people to access, particularly if they’re members.
“That has been a big success and it has made BCI a lot more visible, because there’s always something happening.
“We also introduced new formats which are tied into our mission of connecting people. These include the member lunches and Walk and Talk events. They are good ways for members to connect with each other, easy to access and something no-one else is really doing for our community.
“The social media activity, newsletter and content has been transformed in the last few years. We produce a lot of really helpful and useful content for our members.
“Finally, the Bristol Creative Industries Internship Programme is the activity I’m most proud of.
“It started with the SXSW Apprentice and Ben Martin Apprentice Award, before evolving into the scheme that is running today.
“It will continue to grow and if BCI has been in any way instrumental in transforming the lives of young people who wouldn’t have had the opportunity without us, then that has got to be the biggest success.
“On diversity, so many organisations talk a good game, send all the right tweets and have all the right badges on their website, but to actually shift the dial, you need to invest proper resources and get expertise behind it.
“We’ve had rhetorical commitment for years, but BCI is now putting its money where its mouth by setting up the programme led by the full-time programme manager, Clare Leczycki.
“BCI is showing leadership in the community, which only an organisation like BCI can do because we are not commercial or competing with anyone else. We’re there to serve the interests of the membership.”
“Lis and Heather’s new roles as co-chairs marks an exciting new chapter for BCI. Having both served on the board and run successful creative businesses, they are experienced hands and well equipped to build on the successes that BCI has achieved to date. They have been key to the internships programme, getting insights on members’ key challenges and connecting them to available funding.
“BCI can continue to take a leadership role in the development and attracting of young talent into the industry in the longer term, making sure there’s a pipeline of fantastic people wanting to come into the industry in Bristol and opening it up to people from all backgrounds and the places that historically haven’t had a look in.
“BCI can also help our industry build firmer commercial organisations. A lot of creative companies are quite hand to mouth and not necessarily great at realising the value of the amazing work that they do because often they are businesses set up by creative rather than commercial people. As times get tougher, creative businesses need more sustainable business models, and not just charging by the hour but finding a way to charge more by the value that they deliver.
“Connected to that is access to finance and financial advice which small businesses often don’t have internally. A collective organisation like BCI can pool organisations together to help.
“The UK does still have a reputation internationally for the creative industries, and as the UK market gets more challenging and competitive, our industry needs to look beyond these shores for opportunities for growth.
“Finally, we need to guard against complacency and any inertia that we have in thinking that Bristol’s an incredibly successful city and we can roll along and it’s all going to take care of itself.
“We need to understand that there are a lot of other cities hungry to eat your lunch. We’re in a good place, but we can’t assume we will be in 20 or 30 years time. We need to make sure that what happened to the first generation of industries in the UK doesn’t happen to the current generation through complacency and taking things for granted. That’s where an organisation like BCI can take a leadership role in pushing innovation.”
“Consistency of messages is important. The government blows hot and cold on the creative industries. Sometimes they get mixed up in the ‘culture wars’ and think that’s it not a real and important sector.
“In schools, it’s all about science, technology, education, engineering and maths, but the arts subjects are struggling and not getting the support that they need both financially and rhetorically from the government. There’s a sense that they’re not seen as real and proper subjects.
“The government needs to buy into the fact that the creative industries is one of the UK’s strongest advantages in the world and we need to be championing and banging the drum from the top down.
“I think that the government needs to find a way to undo the damaging effects of Brexit on our sector. It has had a huge supply of talent cut off by the ending of freedom of movement, which many BCI members used to find incredibly valuable.
“Schools need to be better connected with the creative industries and it needs to happen at an earlier stage with younger children. As a school governor myself, I think that the employability side of schools is still out of date. The kind of jobs that they know about and the kind of connections that schools have with industry is pretty old fashioned. There’s an ignorance of the myriad of jobs in the creative industries that people can do.”
“If you’re a supporter of the Bristol region and the creative ecosystem, joining Bristol Creative Industries is doing your bit.
“Check out what is available from BCI. The membership offers huge value for money. There’s lots you can get out of it including jobs advertising, coming to events, publishing your content on the website, and participating in the social media activity and using it to raise your profile.
“You will definitely meet great people. There are lots of fantastic people who are part of the network. You never know how they might be able to help you and your business.
“If people stop supporting BCI, it will go. If it didn’t exist, people would want to invent it. It’s a valuable thing that has taken the best part of two decades to build. It’s a fantastic asset for the city and the region. BCI is part of the jigsaw puzzle that makes up what’s good about the region.
“Alli Nicholas, who has been at BCI for 10 years, is the go-to person for all things membership so do speak to her if you have any questions.”
Clare Leczycki shares an update on the Bristol Creative Industries Internship Programme.
We are just over halfway through the pilot year of the Bristol Create Industries Internship Programme, a scheme set up and funded by Bristol Creative Industries and and a group of members. It gives young people from under-represented backgrounds a chance to explore the different roles in the creative industries.
The programme, delivered in partnership with Babbasa as part of the #OurCity2030 initiative, provides interns with placements at two different agencies over a six-month period.
It aims to:
Our interns switched placements this month and are now working in their second agency.
During this process, several opportunities came up and we off-boarded three of the interns early.
Seren Spooner was offered a job at Armadillo as a junior designer and decided to take the opportunity to move into full- time work.
“As a graphic designer, I was initially unsure about going into client service, but quickly found that I really enjoyed it. Agency structure has been a highlight for me and being openminded about all the different roles and opportunities available within an agency has been really interesting. It has allowed me to see where my experience and skills can fit with an organisation like Armadillo.
“I really wouldn’t be anywhere without this programme; it has made the transition out of university so incredibly easy. To have a variety of roles put in front of you is amazing, and even though I won’t be changing my agency and role in the second part of the programme, as I was offered a full-time position, to have the opportunity to switch and learn new skills at a new company makes such an impact.
“The support that you get from your peers throughout the programme is also so impactful, we have all been there for each other throughout this process which has been amazing.”
Mohd Wani decided to go back into education to do a masters in UX at one of the most prestigious universities in the UK:
“This programme has given me a new career path in an industry I never thought would be for me. By moving into UX design from graphic design, I can now see myself excelling more in this role than I ever could’ve imagined in graphic design.
“In four months on this programme working in UX, I can see more improvement in myself than in three years of training in graphic design.
“The work I have completed at Atomic Smash has helped me to secure a place at the Royal College of Art, which I will be starting later this year. But I have also been offered a full time by Atomic Smash when I finish my course, so I know my future is secure.
“The programme has taught me great networking skills, and different ways of talking to people. The skills sessions we do each week has also given me so many additional skills outside of my day-to-day job which are so valuable, and that is all thanks to this programme.
“The work I have done because of the programme and the skills that I now have, has helped me get rid of my past feelings of ‘I don’t belong here’, and now I know that I do.
“I would tell anyone thinking of joining the programme to just do it. It will give you so many different opportunities to find out what you are good at, what you are in to, and what your career path can be.”
Laurel Beckford is now working with Babbasa’s communications team:
”The BCI internship programme is one of the best out there for any individual looking to get their foot into the creative sector. The amount of support I have received is incredible and gives you so many opportunities to build up your skills.
“I was made aware of the programme through Babbasa and worked with them to help me with the process of getting in touch with BCI.
“Before I came on this programme, I didn’t know one thing about building a website, and now I can and have learnt so many skills.
“I have travelled to London with my agency, met clients face to face, and been involved in a photoshoot, which has been a real highlight.
“The BCI Internship programme can help anyone make their way into the creative sector and will give you the chance to do that.”
Whilst we are sad to be saying goodbye to some of the interns, we are incredibly excited to see opportunities created by the network and it’s brilliant to see the young people thrive and move onto the next stage of their career. We look forward to hearing more about how they are getting on in the coming months.
Other interns have also been offered jobs but have chosen to complete the internship programme, while some are exploring further training to hone their skills.
You can see the agencies currently involved in the progamme here.
The pilot programme will finish at the end of November. We will then review and reflect on the learnings from the interns and participating agencies to see how the scheme can be further developed and expanded. We are particularly excited to be working more closely with the team at Babbasa to develop our onboarding and training processes for the next round.
Conversations for the 2024 Bristol Creative Industries Internship Programme has begun. If you run a creative business in Bristol and are interested in hearing more about how to get involved, contact BCI membership manager Alli Nicholas on [email protected]