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CT E JE TH O PR Maria Rodes Elle Gabrovska Suzie Austen Katie McFarland Mark Landy


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2018

maverick/ˈmav(ə)rIk/


WHY GRAPHIC

MAVERICKS? “An unorthodox or independent-minded person: they are the maverick of the group.” Oxford dictionary of English

Well, the long and the short of it is, we were asked to analyse a practitioner as part of a ‘collaboration-brief.’ Engaging our audience, is one of the roles of a graphic designer. We mutually felt that ‘Practitioner Analysis,’ was a little formal and in all honesty, not compelling, so we decided to think of something else. But, how do you pick a few words, to sum up five inspirational – well, at least to us – people who were thrown together for a university project. We found a common thread; each practitioner is considered a maverick. To progress in graphic design, you have to be willing to play, experiment, try, fail, innovate and see ideas in new ways. Isidro Ferrer, Veronica Fuerte, Paula Scher, the Project Twins and Saul Bass are design industry professionals and are the mavericks we find inspiring. We hope to share with you, why we think so…

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FACTFILE

ISIDRO FERRER Studio: Camaleón, Saragossa, Spain.

Quote: “Designers are not artists, we solve problems” Awards: Spanish National Design Award in 2002, National Award for book illustrations for children and young people in 2006.

BIOGRAPHY Born in Madrid in 1963, Isidro Ferrer is a graphic designer and illustrator who stands out for the originality and creativity of his works. He first studied dramatic arts, but soon retired from the stage and began his new career working as a layout designer at El Heraldo de Aragón, in Saragossa, Spain. Ferrer

Spanish National Design Award in 2002 and the National Award for book illustrations for children and young people in 2006. Ferrer has also produced award-winning audiovisual pieces for Volkswagen’s New Beetle and continuity bumpers for Canal+.

STYLE

completed his academic training at Peret

Ferrer’s works are simple combinations of

Studio (Pere Torrent) in Barcelona. In 1996 he

reality, photos, illustration, collage and design

founded his own studio, Camaleón, which has

that stand out for how they succeed in

produced important editorial orders for the

communicating an idea.

Alfaguara and Santillana publishing houses.

His works are full of textures, wood, iron,

Although Ferrer has put active theatre life

colour marking and typography. He often

behind him, he is still very linked to it. A

creates faces using shapes. These faces

decade ago, he was commissioned to create

are masks that represent characters, and

the image of the National Drama Centre’s

are directly influenced by his theatre

premieres – he went beyond, creating an

background.

identity for the whole institution.

Ferrer’s business model is based on

Ferrer has received several prizes and awards

direct face-to-face interactions

for his work, with highlights including the

– wanting to genuinely

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Member of Alliance Graphique Internationale since 2002.

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know his client, he does not work with advertisement agencies. His works are very personal and able to narrate the story behind each commission. Ferrer does not have a social media presence. He has mentioned in several interviews that he detests the digital interaction between people. Ferrer’s website exhibits his works and provides information about his publications, exhibitions, awards and contact details. It also includes an online shop for purchasing illustrations. 3

UNIQUENESS Ferrer is a creator of visual poetry – he imagines a world full of surprises and puns, loading his designs with surrealism and metaphors. His mutant creatures are contemporary mythological creations, a combination of two objects: a pencil that is a dart (Babelia, poster), an egg shell that is a

wrapping the object in silence so

balloon (The world is a common good, poster),

nothing can take attention away from

nothing is what it is in Ferrer’s work. He

it. His use of typography is clever, clean and

provides each of his designs with a reflection

balanced within his compositions, frequently

wrapped in intelligent humour.

interacting with the object but respecting its

Ferrer’s mastery of hierarchy, different

dominance.

mediums and techniques as well as of various

During his career, Isidro Ferrer has produced

communication channels is what makes him

works spanning different purposes and fields,

so versatile. His works are clean: he focuses on

ranging from social graphics and theatre

the object that provides a reflection, placing

performance posters through to illustrations

everything else on a second level. His use of white space highlights the reflection,

for children’s book, credits for movies or animations for TV programmes.

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FACTFILE

SAUL BASS Studio: Pentagram Quote :“Typography is painting with words –­ it’s my biggest high” “You have to be in a state of play to be able to design” Acerovidest dunt enis ma por molorae cuptati atiorit eatiis quide veligenet ut ad minctotamus

HEADING 1 Mo beaquia qui omnis de ipidiae doluptam

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quatius.

sit volorest, ut qui cuptur animus miliquas dolupta

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estia velitiora culpa aut optaquo verchitia

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velicius rendae sectem quo quas corest vel

debitas ium, te es quam, nusa in restrup tatempo

magnim comnisquunt officidis nostist la sit

ritatque pre, sunto maio odis mos rem fuga. Nem quat.

reperro vitiunt, qui qui te preicii squisquia sa

Pore sum quide audandi aut quos sincit, quiae

dolorem quo mos disque doluptat magnient

pelitiae. Ihiciam, ad ut provid mint quam quo et est, sumquis audia aut veritasi a quos sanimusdae volorepel illicia spistem ossitas audit ut omni officaerro testia comnimi, erio blaccum inveribus reperen delique nempor mi, cor sunt, odi omni nonsequi ipsam rehentibus. Acerovidest dunt enis ma por molorae cuptati atiorit eatiis quide veligenet ut ad minctotamus con pro es nonsendel minvent offictius, omnihillant

et quidiorest, comnisi cum num qui vendi doloreste volut il magnis velentem de reptas dollacepre et vid estio. Imporendit qui accum, nonet estem untio di conserferrum faces et raepta volessunt, con cupta pro offictat ernam excesto tatias quodiosae as endit, net, sus.

HEADING 2

aute es repratem a conem aut laborum quam

Dolorerchici nitis et omnihic tem

qui omnihil igentio vit, tet autem aped moluptae

esciendit re, illit alit providu

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catquia ipsapit volentur molendam lacerias ium

facernatum fuga. Nequid utem nos alia cus

resequi sequam etur? Ipsapel estotaturia volento

duciendae etur, volupta tquidis audic torro occus

volumquos ut eosam as di tem ipiscipsam, omnis

dolorruptat eatis erum, te qui re mint opta comniet

pratur? Lupta seque rerores nonecatiis ape vent

ea doloreh enienim agnihil ma vendi omnim lab

apienis inis reria cuptam, cullabore conem hiliant.

inus rendero vento bero consectas doluptio et

HEADING 3

estem as ant voluptatum remporem autatur min experemo ide num fugiatur?

Imet explitiis ut vernam, aut que por moluptatinum

Ute num que aute quis aut re lam quatem hit offic

quia volut hilibus exceperum niendam, qui temquid

teni verum que dem quibusdam, aut idest, inis et

moluptur, sequi optatia qui to magnam, is aut ut

evende volendanda nonet aut labor asperrovidel

assin recust ped mos aut fuga. Onsequodi cone re

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as santus.

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Nobitatatur, vent. Ut mo tem. Xim harchit aquunt, offictatatur Nobitatatur, vent. Ut mo tem. Xim harchit aquunt, offictatatur

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FACTFILE

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PAULA SCHER

Studio: Pentagram Quote :“Typography is painting with words –­ it’s my biggest high” “You have to be in a state of play to be able to design” Acerovidest dunt enis ma por molorae cuptati atiorit eatiis quide veligenet ut ad minctotamus

HEADING 1

sunt, odi omni nonsequi ipsam rehentibus.

Mo beaquia qui omnis de ipidiae doluptam fugitatur aut officit es eosam fugit exceped quam sit volorest, ut qui cuptur animus miliquas dolupta tiature ribus, quatiorem saperate que es aspienis dollaborit lam incius acero idescitium, il esciis debitas ium, te es quam, nusa in restrup tatempo ritatque pre, sunto maio odis mos rem fuga. Nem quat. Pore sum quide audandi aut quos sincit, quiae pelitiae. Ihiciam, ad ut provid mint quam quo et est, sumquis audia aut veritasi a quos sanimusdae volorepel illicia spistem ossitas audit ut omni officaerro testia comnimi, erio blaccum inveribus reperen delique nempor mi, cor

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Acerovidest dunt enis ma por molorae cuptati atiorit eatiis quide veligenet ut ad minctotamus con pro es nonsendel minvent offictius, omnihillant aute es repratem a conem aut laborum quam qui omnihil igentio vit, tet autem aped moluptae demquas dolupta ssusam quodipis di quatius. Genihic te sae venturi resto qui adit ex ex estia velitiora culpa aut optaquo verchitia velicius rendae sectem quo quas corest vel magnim comnisquunt officidis nostist la sit reperro vitiunt, qui qui te preicii squisquia sa dolorem quo mos disque doluptat magnient et quidiorest, comnisi cum num qui vendi doloreste volut il magnis velentem de reptas dollacepre et vid estio. Imporendit


qui accum, nonet estem untio di conserferrum

suntium quo beate ipsam conese dolor aut inctin

faces et raepta volessunt, con cupta pro offictat

rero voluptatur?

ernam excesto tatias quodiosae as endit, net, sus.

Um reicium, sitatec taspien itatumquo explaut

HEADING 2

essuntota iligent, vel ea ament volupta doluptatetur as santus.

Dolorerchici nitis et omnihic tem esciendit re, illit

Nobitatatur, vent. Ut mo tem. Xim harchit aquunt,

alit providu ntotat.

offictatatur si dolest haribus, sumque volorep ellenis

Solorest vel incius mo tem repel ime sit quam qui

et re ipisi offictu rescit volupta sitatibus remporem

dipsam rerum as maios mod et perci temporum eoste dollicius aut volume occus aut alibus earibus poris dolorestia explab ium rero od et idenihi catquia ipsapit volentur molendam lacerias ium resequi sequam etur? Ipsapel estotaturia volento volumquos ut eosam as di tem ipiscipsam, omnis pratur? Lupta seque rerores nonecatiis ape vent

harcill amusda simillique volor rem dolupta iur, et quamendant odis res non eos explabo. Axim quiatesed magnim quo quos sam eum eatur? Sed ex eum quiatem re, tet ma ne velicima periorerro et quo esecatiunt, aboresequi net quiaspe lam facernatum fuga. Nequid utem nos alia cus duciendae etur, volupta tquidis audic torro occus

apienis inis reria cuptam, cullabore conem hiliant.

dolorruptat eatis erum, te qui re mint opta comniet

HEADING 3

inus rendero vento bero consectas doluptio et

Imet explitiis ut vernam, aut que por moluptatinum

experemo ide num fugiatur?

quia volut hilibus exceperum niendam, qui temquid moluptur, sequi optatia qui to magnam, is aut ut assin recust ped mos aut fuga. Onsequodi cone re sequaes

ea doloreh enienim agnihil ma vendi omnim lab estem as ant voluptatum remporem autatur min

Ute num que aute quis aut re lam quatem hit offic teni verum que dem quibusdam, aut idest, inis et evende volendanda nonet aut labor asperrovidel

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FACTFILE

VERONICA FUERTE Education: ELISAVA Barcelona School of Design and Engineering Studio: Founder & Creative Director at HEY Design Studio, Barcelona Expertise: Brand Identity, Editorial Design and Illustration Style: Fresh, Bold, Geometric and minimalist Awards: ADC Young Guns 7 winner, 2012.

BIOGRAPHY Veronica Fuerte is native to Barcelona and has practised graphic design and illustration for approximately sixteen years. After graduating from Graphic Design at ELISAVA Barcelona School of Design and Engineering in 2002 she started working in a prestigious brand design company named Summa. She briefly moved to Menorca but returned to Barcelona and assumed a position within Luna studios where she stayed for three years. At age 27, in 2007 she founded her own design studio, HEY. In the beginning she had to look for commissions and sent out a small physical portfolio to various local companies and places of culture. She thinks this physical presentation helped her to secure business (Gosling, 2017). She was awarded the ADC’s Young Guns 7 design award in 2009 and endorsement from various respected media sources, DesignBoom and the AIGA furthered her success (Elisava.net 2018). (Gosling 2017). The studio currently specialises in brand identity, editorial design and illustration (heystudio.es 2018); the majority of their clients are from across the globe and include Apple, Vodafone, Monocle and Oxfam (Gosling 2017).

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WORKING PROCESS Veronica deliberately keeps her design team small, believing that this allows them “to pay attention to little details, to be closer to the client and to stay true to their style” (Designboom.com, 2014), which is distinct, geometric, colourful and uses direct typography; all based in

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minimalism. She describes it: “I always say it’s not just a style, it’s an attitude: it’s something open, fresh and simple with a strong idea behind it and very bold graphics. I believe design is for everyone, not just a specific target, so that’s why it’s so direct and f resh” (Gosling 2017).

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Veronica and her team tackle commissions in the same manner; with research, observations and collaboration before agreeing on ideas. Several solutions are presented to each client; having a distinct style allows for a faster turnaround. She collaborates with outside partners on projects when deemed necessary. Illustration turnarounds are much shorter; the first idea has to be the best one. Her most exciting projects are those in which there is trust between studio and client, allowing boundaries to be pushed; the status and the size of the project is irrelevant (Designboom.com, 2014).

HIGH IMPACT PROJECTS Success soared when HEY was commissioned by the international magazine Monocle to provide illustration on the reduction of cocaine consumption in the US. The connection with such a far-reaching magazine offered new prospects. Staying connected with fans and followers through social platforms helps increase their popularity. Their recent Instagram project Every Hey showcases a daily character and allows ‘ordinary’ people to get to know them (Designboom.com, 2014).

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MY PRACTISE I have fallen in love with Veronica Fuerte’s work, but moreso her ethos. I am trying to find my own direction, but my gut instinct has always been to have my own small design studio. I also love bold colours, geometric design minimalism. I had not fully considered collaboration and how this could work, but the powerful effects this can have has become apparent. The actual working practises described by Veronica, ‘Research, Observations and collaboration make sense and a standardised methodical approach is also something I aim to achieve.

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BIOGRAPHY

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The Project Twins are Irish brothers Michael and James Fitzgerald, graphic designers who are based in Sample Studios in County Cork. They have garnered a world-renowned reputation in the industry through their quirky and engaging pieces. They create screen prints, murals, sculptures and graphic design but are leaders in editorial illustration. Synergy art describe their work as “Playful and clever with a bold and simple design” while Nash 19 website point to the “humour”, “irony” and “wit” evident in their works.

TECHNIQUES For editorials in particular, they often use simple visuals that contain a clever underlying entropic message to engage the reader. Often, they fuse two elements or ideas together to try and create an underlying message. One piece is that of an industrial building with windows and poison fumes emanating from its chimneys. On taking a step back, the American flag, on its side, is clearly identifiable within the design. The message is in response to the U.S. “blind-eyeing” global warming. Their designs are pared back, blocky and bold prints and they quite often use body parts such as heads, arms & legs within their work. These parts can be somewhat exaggerated such as small heads on big bodies and multiple arms and legs. There is humour in its form, but the underlying message may actually be quite serious. A lot of time, they recycle those same elements, in the same shapes and create other works using them. It unifies and familiarizes their work and gives them their unique style and identity.

ETHOS

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Their artistic methods tie in with their values and attitudes towards their work. They have access to Cork Printmakers under their roof at Sample and are members of the Illustrators Guild of Ireland. They tap into old style values to produce prints and other art. They use art to influence design and vice-versa. For example, they scan real screen prints and integrate them within digital designs to give a textured look to certain works. They also experimented with an old RISO printer while working for Facebook in Dublin. Their

THE PROJECT TWINS 10


influences include 1950s & 1960s NYC artists such as Glazier and Saul Bass, quirky 50s psychology book designs and Swiss modernism.

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INFLUENCE The twins demonstrate that complexity can be built into simplicity. They have a similar mindset to mine – there is an undercurrent of their humour built into their work and I see that as an important part of my work ethic. I love the way they don’t use expensive or fancy pencils and paper, but only focus on getting as many ideas on paper as they can. Their methodologies are simple and effective. They have a spirit of generosity (such as free posters for local charities) and have courage of their convictions also. Their style of work and ability to problem solve means they are in high demand. It also means they can make the art they love and make a living in doing so. This is essential for designers creating their visual identity and reputation through their true passion. The project twins have convinced me to have the courage to design for passion first, which can lead to having strength in my beliefs and becoming a more accomplished designer.

Location: Cork, Ireland Design School: Cork Institute of Technology

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Design Studio: Sample Studioa Famous Works/Short Description of Work: Editiorial Illustrations, Wall murals for Facebook & Three offices, Sculptures.

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UK COPYRIGHT SERVICE

Copyright is the protection that designers,

The UK Copyright Service in Section 4, part 1 of the

writers, artists, songwriters and other creative

Copyright, Designs and Patents act of 1988 lists all the

practitioners get when they create an original

different types of artistic works covered by copyright

piece of work. It grants exclusive legal rights

including Graphics, drawing, painting, diagrams,

to the creator to determine if their work can

charts ,maps or plans, engraving, etching, lithography,

be reproduced, published, sold or distributed.

woodcutting etc – virtually anything artistic is covered.

Copyright applies to the physical creation of a design, rather than the ownership of an idea that is in somebody’s head. Elements such as colours and shapes cannot be copyrighted but putting them into a combination to create a poster, logo or design entitles the creator to copyright.

The duration for copyright for artistic works varies. For example, 70 years after the end of the year of the death of the creator is when copyright expires. For typographical works, it is 25 years from the end of the year of publication. After copyright expires, the piece can be freely replicated or used in public domains. The UK copyright service will copyright your works for a fee by uploading your work to their system.

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IRELAND PATENT OFFICE

the background of a TV advert)

office suggest a few things:

ANTI COPYING IN DESIGN ORGANISATION (ACID)

The Anti Copying in Design organisation was set up

In Ireland, there are no official registration procedures for copyrighting. However, the patents

As soon as you place © after your name with the

date (for e.g. Mark Landy ©2018), it means that the

by designer Dids McDonald after she found that her

work is copyrighted straight away

crafts were being knocked off by large companies.

If you want to further secure your work, and

create proof, it can be done by:

The website gives advice on how to safeguard your Intellectual Property. (IP refers more to protection against theft or replication of your physical ideas –

1. Depositing the work with a bank or solicitor who

close similarities in two designs would be a good

will record the date and time

example)

2. Mailing it to one-self through registered post with a clear date & time stamp, receipt of posting and left in a sealed envelope – the UKCS refers to this as “the poor mans copyright” and advises against it.

GOV.UK Gov.uk alludes that you can own the IP on a work if you created it and you have met the criteria for

Designers need to be aware that at certain times,

copyright laws, buy the rights from the original

copyrighted material can be used and the copyright

owner or have a brand that is trade-marked. Self

laws won’t be broken. These are known as fair

employed or Freelance designers usually own the

dealing exceptions and there is a range of situations

IP unless there is a pre-arranged agreement within

such as for educational use, caricatures, research,

the contract that the client stakes ownership.

study and incidental inclusion (eg a design poster in

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MARIA RODES ISIDRO FERRER TEXTS Premios Gràffica (2011). Isidro Ferrer, Premio Gràffica 2011 [online]. Available at: http://graffica.info/ premiosgraffica/isidro-ferrer/ [accessed 2 Jul 2018]. Spain is Culture (n.d.). Isidro Ferrer. Design. Biography and works [online]. Available at: http://www. spainisculture.com/en/artistas_creadores/isidro_ferrer. html [accessed 2 Jul 2018]. Sanchis Giner, A. (n.d.). Isidro Ferrer - Un Poeta Visual, un Diseñador Storyteller [online]. OFN - Blog sobre diseño, publicidad y cosas bizarras. Available at: http:// www.ofnblog.com/profesionales/isidro-ferrer-unpoeta-visual-un-disenador-storyteller [accessed 2 Jul 2018]. Riaño, P. (2018). Isidro Ferrer: “Cuanto más chillas, menos te escuchan”. El Español [online]. Available at: https://www.elespanol.com/cultura/ libros/20180430/isidro-ferrer-chillas-escuch an/303720108_0_303749626_20.html [accessed 2 Jul 2018]. Alcalá, N. (n.d.). Isidro Ferrer. cultier [online]. Available at: http://www.cultier.es/isidro-ferrer/ [accessed 2 Jul 2018]. Design and Artists Copyright Society (n.d.). DACS - Knowledge Base - Frequently Asked Questions [online]. Available at: https://www.dacs.org.uk/ knowledge-base/frequently-asked-questions#FAQ148 [accessed 9 Jul 2018]. European IPR Helpdesk (n.d.). Copyright (IP in Europe) [online]. Available at: https://www.iprhelpdesk.eu/ taxonomy/term/159 [accessed 9 Jul 2018].

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European Commission - Digital Single Market (2018). Copyright [online]. Available at: https://ec.europa.eu/ digital-single-market/en/copyright [accessed 9 Jul 2018]. UK Copyright Service (2017). UK Copyright Law fact sheet [online]. Available at: https://www. copyrightservice.co.uk/copyright/p01_uk_copyright_ law [accessed 9 Jul 2018]. Carter, D. (2018). How can designers deal with plagiarism? Creative Bloq [online]. Available at: https://www.creativebloq.com/features/how-candesigners-deal-with-plagiarism [accessed 9 Jul 2018]. Bancroft, J. (2016). Copyright uncovered: How do I know if my artwork’s been infringed? [online]. Design and Artists Copyright Society. Available at: https://www.dacs.org.uk/latest-news/copyrightuncovered-infringements?category=For+Artists&titl e=N [accessed 12 Jul 2018].

IMAGES 1. Ferrer, I. (2013). Cahier de vacances [image]. Available at: http://www.isidroferrer.com/index.php?/novedades/ cahier-de-vacances/ [accessed 12 Jul 2018]. 2. Ferrer, I. (n.d.). Inmigrante. Gráfica Social [image]. Available at: http://www.isidroferrer.com/index.php?/ proyectos/grafica-social/ [accessed 12 Jul 2018]. 3. Ferrer, I. (n.d.). Arròs negre. Fancine [image]. Available at: http://www.isidroferrer.com/index.php?/ proyectos/editorial/ [accessed 12 Jul 2018].


ELVIRA GABROVKSA SAUL BASS TEXT Etresticum re ne tum siliis tu senticerei iam, consupic re ca pris adhus peremenihil hora simis omnihil icotia? Namena, culla in se pra int.

mac ta, verit? Irtum opubli intem porum tesimil istrari talius populicae me clessena, publin se tatum num linat, Cupiena tumusul arives ta, nitatqu iderendum in hos fue vitere mantiam nonsus bonsuloc ocum Romnerim aucient ilicesultus, C. Fac

Ique issilia reo conir que is; nes di conclus

manuntreorum publiam in ia vides publiciae terfit?

vituamquam poticiam derra ves ius nostorae fauterni

Opionsum popotil tum teliquam, P. perfina possed

consulat, se convoctus compordi, utum deatifecit.

remurem acriorum pessulem omnenir pubistrider

Sp. Opici probsere obussa temulicultus hostem re,

horibultum dium, sulvis hosus se tum pesime popti,

nonfin nonsum etercera nonsus, C. Abus Maeli, facci

condum nocchuit, terbit L. Catquam qua pribus,

practorudet L. Moentia mpossus pulabus cendi,

sulicaes cre egerips, peri, nonternu sunum fue

consultodium site confec ocri pareistra escero mori ili,

que quem, consum stratque aciemquitam effrest

patienatquit fuerunt. Valin dem lis, perituu scrunum

ilnente et? Git factoresta, nihilibus, que patrumedea

addum tam teme que que di scitertum dio nihina, nos

publium intiesi tus, uris opublin diis es, e cturoriviur,

ces ore potilica verum perceperdit vivit, nu more ad

qua L. Unclere hemquid

ad sultu qui cae movilium et; nist? Quam moverem, senica igit. Udesisu nterfec upiemov igilis, nor ad con viu conternulto nos re ina, furatide te consilis, nossum ia in sulis, que num hac mus endica in vis C. Medium maion ressintia res facit, et quos abus, contem is. IMAGES Satam nocus hocrivi ricitus eor audacer feciontiam

Etresticum re ne tum siliis tu senticerei iam, consupic re ca pris adhus peremenihil hora simis omnihil icotia? Namena, culla in se pra int. Ique issilia reo conir que is; nes di conclus vituamquam poticiam derra ves ius nostorae hostem re, nonfin nonsum etercera nonsus, C. Abus Maeli, facci practorudet L. Moentia mpossus pulabus cendi, consultodium site confec ocri

untiumus, cus veritus oca es iuri sentra cepoeni

que di scitertum dio nihina, nos ces ore potilica

modiusque paterei furo nocupec vercesi deropties

verum perceperdit vivit, nu more ad ad sultu qui cae

amquem hos, trem. Otem tus, nostre cupicae

movilium et; nist? Quam moverem, senica igit.

conentea nestrio publiss enterist con hortius, vis liae

15


SUZE AUSTEN PAULA CHER amquem hos, trem. Otem tus, nostre cupicae

TEXT Etresticum re ne tum siliis tu senticerei iam, consupic re ca pris adhus peremenihil hora simis omnihil icotia? Namena, culla in se pra int. Ique issilia reo conir que is; nes di conclus vituamquam poticiam derra ves ius nostorae fauterni consulat, se convoctus compordi, utum deatifecit. Sp. Opici probsere obussa temulicultus hostem re, nonfin nonsum etercera nonsus, C. Abus Maeli, facci practorudet L. Moentia mpossus pulabus cendi, consultodium site confec ocri pareistra escero mori ili, patienatquit fuerunt. Valin dem lis, perituu scrunum addum tam teme que que di scitertum dio nihina, nos ces ore potilica verum perceperdit vivit, nu more ad ad sultu qui cae movilium et; nist? Quam moverem, senica igit. Udesisu nterfec upiemov igilis, nor ad con viu conternulto nos re ina, furatide te consilis, nossum ia in sulis, que num hac mus endica in vis C. Medium maion ressintia res facit, et quos abus, contem is.

IMAGES Satam nocus hocrivi ricitus eor audacer feciontiam

16

conentea nestrio publiss enterist con hortius, vis liae mac ta, verit? Irtum opubli intem porum tesimil istrari talius populicae me clessena, publin se tatum num linat, Cupiena tumusul arives ta, nitatqu iderendum in hos fue vitere mantiam nonsus bonsuloc ocum Romnerim aucient ilicesultus, C. Fac manuntreorum publiam in ia vides publiciae terfit? Opionsum popotil tum teliquam, P. perfina possed remurem acriorum pessulem omnenir pubistrider horibultum dium, sulvis hosus se tum pesime popti, condum nocchuit, terbit L. Catquam qua pribus, sulicaes cre egerips, peri, nonternu sunum fue que quem, consum stratque aciemquitam effrest ilnente et? Git factoresta, nihilibus, que patrumedea publium intiesi tus, uris opublin diis es, e cturoriviur, qua L. Unclere hemquid Etresticum re ne tum siliis tu senticerei iam, consupic re ca pris adhus peremenihil hora simis omnihil icotia? Namena, culla in se pra int. Ique issilia reo conir que is; nes di conclus vituamquam poticiam derra ves ius nostorae hostem re, nonfin nonsum etercera nonsus, C. Abus Maeli, facci practorudet L. Moentia mpossus pulabus cendi, consultodium site confec ocri

untiumus, cus veritus oca es iuri sentra cepoeni

verum perceperdit vivit, nu more ad ad sultu qui cae

modiusque paterei furo nocupec vercesi deropties

movilium et; nist? Quam moverem, senica igit.


KATIE MCFARLAND VERONICA FUERTE

TEXTS Veronica Fuerte 1. Gosling, E (2017) Hey Studio founder Verònica Fuerte on the importance of self-initiated projects and how to survive a crisis [Online] Available at: https://www. creativeboom.com/features/hey-studio/[Accessed 8th July 2018] 2. DesignBoom(2014) interview with veronica fuerte of hey studio [Onine] Available at: https://www. designboom.com/design/interview-with-veronica-

co.uk/copyright/[Accessed 10th July 2018] 3. Gov.uk (2018) {Online] Available at: https://www. gov.uk/copyright [Accessed 10th July 2018] 4. Gov.uk (2018) {Online] Available at: https://www. gov.uk/ntellectual-property-an-overview [Accessed 10th July 2018]

IMAGES 1. Hey (2018) [Online] Avaialble at: http://heystudio.es/ projects/nava-notebooks/[Accessed 8th July 2018]

fuerte-of-hey-studio-11-25-2014/[Accessed 8th July

2. Hey (2018) [Online] Avaialble at: http: http://

2018]

heystudio.es/projects/jammy-yummy/[Accessed 8th

3. Elisava (2018) [Online] Available at: http://www.

July 2018]

elisava.net/en/design-attitudes/veronica-fuerte

3. Hey (2018) [Online] Avaialble at: http: http://

[Accessed 8th July 2018]

heystudio.es/projects/monocle [Accessed 8th July

4. Heystudio (2018) [Online] Avaialble at: http:// heystudio.es/about/[Accessed 8th July 2018] Copyright 1. Baumgart, S. (2012) Copyright & design right: an introduction and practicalities for designers & designer makers [Online] Available at http://www. thedesigntrust.co.uk/design-right-and-copy-right-for-

2018] 4. Hey (2014) [Online] Avaialble at: http: http:// heystudio.es/projects/gandules-2014/[Accessed 8th July 2018] 5. Hey (2018) [Online] Avaialble at: http: http:// heystudio.es/projects/futerra-heathrow/[Accessed 8th July 2018]

designers-and-designer-makers/ [Accessed 10th July

6. Hey (2018) [Online] Avaialble at: http: http://

2018]

heystudio.es/projects/projectat/[Accessed 8th July

2. CopyrightService (2017) [Online] Available at: Copyrightservice.co.uk (https://www.copyrightservice.

2018]6

17


MARK LANDY THE PROJECT TWINS

TEXTS Anti Copying in Design (ACID) About [online] Available on : https://www.acid.uk.com/about/ Accessed 8.7.18 Copyright Service UK UK Copyright law – a summary The UK Copyright Service [online] https://www. copyrightservice.co.uk/copyright/uk_law_summary Accessed 8.7.18

100 Archive Modern Practice : The Project Twins [online] Available at: http://www.100archive.com/ article/modern-practice-the-project-twins Accessed 6.7.18 Sample Studios The Project Students at Sample Studios, Cork [Online Video] Available on: https:// www.youtube.com/watch?v=QZRuWWe6vBk Accessed: 6.7.18

The Irish Examiner(2017) Double the fun for design twins James and Michael Fitzgerald The Irish Examiner [online]Available on: https://www. irishexaminer.com/lifestyle/artsfilmtv/doublethe-fun-for-design-twins-james-and-michaelfitzgerald-453027.html Accessed:7.7.18

IMAGES

Exceptions to Copyright The Design and Arts Copyright Society website(DACS) [online] Available on : https://www.dacs.org.uk/knowledge-base/factsheets/ exceptions-and-limitations#cdpa Accessed 8.7.18

1 & 2. Machinatorium 1294//The Project Twins [online] Available at: https://machinatorium.wordpress. com/2018/05/08/1294-the-project-twins/ Accessed: 12.7.18

Frequently Asked Questions – Copyright Irish Patents Office [online] Available on: https://www.patentsoffice. ie/en/About-Us/Frequently-Asked-Questions/ Copyright/ Accessed 8.7.18

3.The Project Twins A test drive of a DNA analysis took-kit in the cloud. Nature.com [online] Available at https://www.nature.com/articles/d41586-01707833-1 Accessed 12.7.184.

Intellectual Property Office Gov.uk [online] Available at https://www.gov.uk/government/organisations/ intellectual-property-office Accessed 8.7.18

4.The Project Twins Finance Redfined Columbia Business School [online] Available at: https://www8. gsb.columbia.edu/articles/columbia-business/ finance-redefined Accessed 12.7.18

Nash19 The Project Twins/Sticky Thoughts [online] Available at http://www.nash19.com/projecttwins.html Accessed 6.7.18 Offset(2017) The Project Twins [online] Available at: http://www.iloveoffset.com/the-project-twins/

18

Accessed 6.7.18 ff

Synergy Art The Project Twins [online] Available at : https://www.synergyart.co.uk/artists/the-projecttwins Accessed: 6.7.18

5. The Project Twins Learn odd and obscure words with this illustrated alphabet Gizmodo [online] https://io9.gizmodo.com/5923286/learn-odd-andobscure-words-with-this-illustrated-alphabet


2018

maverick/ˈmav(ə)rIk/ 19


2018

Graphic Mavericks - An IDI Colloboration  

This is an IDI/University of Hertfordshire publication by Students Elle Grabovska, Suzie Austin, Maria Rodes, Katie McFarland and Mark Landy...

Graphic Mavericks - An IDI Colloboration  

This is an IDI/University of Hertfordshire publication by Students Elle Grabovska, Suzie Austin, Maria Rodes, Katie McFarland and Mark Landy...

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