F
ounded by Tim Donaldson and
Amanda Gaskin, who are also a
couple, Seachange is a boutique
studio in Auckland, New Zealand that
aims to produce meaningful work which
engages and endures.
Servicing a diverse range of clients across
the globe, from arts and culture to waste
management, its output is defined by a
bold, conceptual simplicity that cuts
through to the core of powerful ideas.
We caught up with Tim and Amanda to
discover where they’ve been, where they’re
going, and how they’ve managed to stay
sane throughout it all.What’s the story behind Seachange?
Amanda Gaskin: Tim and I met 13 years ago
at a small design agency in Auckland. Soon
after that, we moved to London, where we
lived for 10 years. Tim had always wanted
to start his own studio, but I don’t think
either of us thought we’d start one together.
It happened naturally after we had our first
child, and realised that working full-time for
other people wasn’t going to suit our lives
any more. We moved back to New Zealand
and it just happened organically. There was
no big, “Let’s start an agency” moment, more
of a, “Shit, we’re an agency now”.In what ways has Seachange developed
since then?
AG: We’re evolving all the time; there’s so
much to learn. We’re constantly making
mistakes on the business side of things,
as both of us are designers through and
through. We hired our first designer this
year, and took on our own studio space,
which is still a work in progress.
We feel very grown-up compared to when
we started three years ago. I never thought
I’d be interested in the business side of
design, but I find it increasingly fascinating
and love the relationships we’ve forged with
our clients over the past few years, many of
whom have become good friends.What are the kinds of clients that you
typically look for?
Tim Donaldson: We don’t have a type of
client or style of job that we go after; we’re a
bit old-school in that respect. We believe thatwith the right amount of time and thought
you can make any business, job or product
great. So our client list is pretty diverse: we
work with art galleries, theatre companies,
architecture firms, restaurants and waste
management companies.
We get more excited about a client’s
vision, energy and appetite to do something
different, rather than what particular
product or service they’re trying to sell.
We’ve also found that if you solve a client’s
communication problem first, they’re much
more responsive to you pushing them in an
unexpected visual way.Could you share an example of how that
works in practice?
TD: Supertrash is a small, family-run waste
collection service with a big purpose: to help
divert waste from landfill through circular
solutions. We created a disruptive identity
that can’t be ignored, which adopted a
fluoro-pink, bold Pop Art-inspired pattern,
tone of voice and a strategy built around
‘Turning Trash Around’.
At its heart, we created an iconic globe-
shaped logo that also spins around online.
We created the brand toolkit, and applied
it to everything from bin signage, printed
material, merchandise, uniforms, website
and vehicle livery. As the client didn’t have
much budget we did everything completely
in-house, but since then, Supertrash has
grown and grown. Now we’re always working
on something for them, whether it’s a livery
design for its new electric cars, bin labelling
or new product positioning.
AG: We won the Purple Pin at the New
Zealand Best Awards in 2019 for our
Supertrash work, which is something we’re
incredibly proud of. We also get a thrill
seeing the Supertrash rubbish trucks driving
around town. They’re so bold and brave, and
just make you feel good.And you’ve worked for its subsidiary
company too, right?
TD: Yes, We Compost is a designated
composting service owned by Supertrash.
Taking inspiration from the humble worm
that plays an integral part in composting, we
created a playful worm logo, and extended
this into a display font and pattern. Again,STUDIO PROFILE
ABOVE
Branding for Jervois, a
boutique development
of eight apartments in
Herne Bay, Auckland.
“IF YOU SOLVE
A CLIENT’S
COMMUNICATION
PROBLEM FIRST,
THEY’RE MORE
RESPONSIVE TO
YOU PUSHING
THEM IN AN
UNEXPECTED
VISUAL WAY”