o i l o f t r o p
I’m a Hungarian-born artist based in Scotland, and this is my portfolio showing the best of all my works, aiming to give an accurate picture of my creative thinking, my design approach, and my inspirations. I’m creating with I’m qualified both in graphic thought and free and textile design, and this portfolio serves as an extensive association and a archive for all the areas I’m lot of abstraction. creating in, from the most functional design to fine art. No matter how small My thinking has always been dominated by visual ideas from a very early age and I became an artist because I found it the easiest and also the most accurate way to express myself.
it is, I think a thoughtful piece of design or art can have a great influence on making its environment a better place for the people in it.
Whether in subject, quality or approach, this particular concern for space, place and environment is dominating my visual thinking and it is the greatest motivation for creative work.
CONTENTS My works in this portfolio are divided into chapters starting from the functional graphic design gradually moving towards more abstract expressions ending with my textile art. If you are interested in one particular area, you can click on the chapter title on this page.
COMMERCIAL DESIGN The next few pages show my best works in graphic design for commercial use, including logo designs, posters, and brochures. (Please note that works created under my current employment are not featured for copyright reasons, if you’d like to see them, please contact me.) When it comes to commercial design, I always think of the customers of the business, the customers of the end product of my design. The readers of a brochure, or the shoppers of packaged products, and I imagine how they’d like to be approached, how they’d like to be talked to by companies.
In any situation of communication, there is always a distortion of meaning to some extent, and I believe it is the task of graphic design to reduce this distortion by its creative means, abstraction and free association, to present the original idea to its viewer. I always try to create engaging and witty designs with a particular attention to playfulness, because a design like that is not only memorable, but also flattering the customer and treats them like partners.
PICKLED SCISSORS Logo and label design, 2014
I created this logo design for my textile recycling service which I currently use for a range of products, but in the future I would like to extend it to further projects such as art workshops and larger collections.
The term “pickled scissors” comes from a Hungarian phrase, for when a piece of clothing is irreperably stained and the only folklore advice to get it out of the fabric is to use “pickled scissors”. Its English translation is fondly quirky, and it feels suitable to use this phrase for pieces of fabrics people can’t use anymore. I used a simple icon for a pair of open scissors with bright yellow, to represent the acidity of vinegar, associated with pickles. The bright yellow and the X-shaped scissors together form a very definite and sharp design that signifies the kind of waste that could be a start of something new again.
WORLD PROSPERITY INDEX Cover Design, 2013 (Competition Entry, 2nd Prize) This cover design was an entry for the “Prosperity Illustrated” competition, organised by the Legatum Institute, who publish an annual global report of the world’s most prosperous countries. The brief of the competition was to design the cover of this report and illustrate prosperity, bearing in mind the nature of the ranking. Prosperity itself is a complicated subject and I had several different ideas in my mind, and I intended to present them the simplest way possible,
I truly believe in visual simplicity as the greatest means to communicate, allowing the viewer to associate freely. In my entry which won 2nd prize (see
opposite page) I presented prosperity as growth and wellbeing, but I also connected this idea to the world of charts and rankings in a playful way. I had further ideas to make the same visual connections (see below), in all of my entries I challenged myself to tell the words “Prosperity Indexed” in the most simple, most understandable way visually possible.
GRADUATION CEREMONY Event identity, 2012
After finishing my Graphic Design course, the Interactive Design Institute and the University of Hertfordshire have organised a graduation ceremony for all the e-learning graduates at Edinburgh Castle. Prior to the ceremony, there was a competition amongst all the design students and graduates to design the identity of the event itself, which I won.
My designs are based on the architectural elements of the entry gate of Edinburgh Castle, taken to basic geometric elements in bright colours.
The printed material consisted of a castle pass, a seat sign and a graduation brochure.
ANYWAY, ANYHOW, ANYWHERE Advertisement designs, 2011.
I have made these posters for a brief during my last year at my Graphic Design course, for a competition of the Young Creatives Network.
The challenge was to create a campaign for P&O Ferries targeting mainly budget airline travelers. I kept the campaign visually strictly within the companyâ€™s branding guidelines, using the colours, typefaces and styles I have seen on their website and in previous campaigns, but I changed the language and I took on a more direct approach.
I took the line â€œAnyway Anyhow Anywhereâ€? from a popular song, which is an obvious exaggeration applied to a ferry service,
but my idea was that the company could take on a brave communication approach, in a time when there is such a general public discontent with the restrictions and uncomfortable services of airline travel. I intended my graphics to sympathise with
the complaints of airline travelers and offer them the comfort and freedom of ferry travel instead. I have taken commonly used phrases and icons to get the ideas across instantly.
QUIRKOLOGY Exhibition design, 2011 This was my final brief for my Graphic Design course. I had to prepare the complete design material of a science exhibition themed around â€œQuirkologyâ€?; the science of our everyday lives.
I associated to â€œquirky scienceâ€? TV shows such as Brainiac and Mythbusters, so I used amateur close-up photos of everyday objects such as toothbrushes and radiators to reflect an almost microscopic view of everyday life.
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RED SQUARES Book design, 2011 I have designed this set of books for a brief during my third year at my graphic design degree course. This was a brief I could choose and I decided to make sample layout pages for an entire set of language course books for Russian, as I’m interested in languages and education. I don’t only have a personal experience as a student: I also used to teach English as a foreign language for private pupils in Hungary.
I named it Red Squares and took it literally in the design. The title is an obvious play on Moscow’s most famous square, but the design is also an homage to traditional Rushnyik embroidery, and of course, Tetris, possibly one of the most famous Russian inventions of modern times, as I wanted the design to be contemporary.
My aim was to create a clear and practical design that looks inviting and makes a supposedly difficult language seem easy.
The design has a functional system: different coloured pixels on the book covers mark the different function of the book, and a different letter on the cover marks a different level. The design is extendable to various parts such as CDs and dictionaries, and I took printing into account too by applying only two colours inside, and create a logical system out of their tones.
This is a double page spread sample from the coursebook, using a varied and exciting layout, to help maintain attention. This is intended for classroom use, so the exercise are placed in a varied order.
6.7 Read the following text and answer the questions
(On CD: Track 27) Мой день. . Я налоговый инспектор. Привет, меня зовут Смит. Макс Смит – это как план. Коллеги ь жизн Моя . кции инспе в Я работаю думаю, что это очень я но но, терес неин это говорят, что и, нет кота. У меня собак нет , жены нет меня У . хорошо. Я один т, бутерброд и пью йогур ем я Утром хо. непло Это есть квартира. аналитические читаю и енты докум ю смотр чай. На работе я гами. Я ем суп, колле с ю говор и кафе в ю статьи. Днём я обеда изор, футбол. телев ю смотр я дома ром, пиццу и пью чай. Вече Потом я сплю.
Когда он обедает? Когда он работает? Когда он ест йогурт? Когда он пьёт чай? Когда он смотрит телевизор?
Утро Когда? Утром
This double page spread is a sample from the grammar book, with summarising tables on the left and corresponding exercises on the right. It is very simple and the layout is a lot less exciting, this is intended for home practice, and the layout here needs to be clear and understandable.
День Когда? Днём
The prepositional case is used with four main prepositions:
B (In) Ha (On, At) O (About) При (Attached to, in the presence of) However, using the prepositions only are not enough to be grammatically correct. The ending of the words change too, in the following way:*
Masculine nouns: -E Nominative: стол, компьютер, файл, журнал Prepositional: o/в/на/при столЕ, компьютерЕ, файлЕ, журналЕ Feminine nouns: -E/-И Nominative: книга, газета, ссылка, работа, РоссИЯ, ФранцИя, демонстрацИя Prepositional: o/в/на/при книгЕ, ссылкЕ, газетЕ, работЕ, РоссИИ, ФранцИИ, демонстрацИИ Neuter nouns: -E/окно, кино, метро, бюро, море Prepositional: o/в/на/при oкнЕ, кино, метро, бюро, море.
//26 inserts.indd 6-7
Вечер Ночь Когда? Вечерoм Когда? Ночю
The Prepositional Case 1 Personal pronouns also modify for the prepositional case:
Nominative Я Ты Oн Онa Оно Мы Они
Prepositional Мне Тебя Нём Ней Нём Нас Них
A few nouns get -y instead of -e, after нa or в: в Kрыму (in the Crimea) В аэропортУ В портУ В углУ В шкафУ В лесУ В садУ На мостУ На бортУ На углУ На шкафУ However, these words have the normal -e ending after “o” (about). “Mы говорим о сaде.”
Please note that in Russian, “in” and “at” don’t always happen the same way as in English. Here are a couple of typical cases: В парке В офисе В фирме В квартире В ресторане В кафе В магазине В клубе В театре В музее В отеле В университете В институте В России В Америке Во Франции В Англии В Китае В Японии В Европe В Азии В центре В семье
На отдыхе На работе На конференции На встрече На собрании На демонстрации На обеде На концерте На балете На выставке На опере На уроке На лекции На Востоке На западе На севере На юге На улице На проспекте На площади На море (отдыхать) На природе (отдыхать) На пляже На почте На стадионе На заводе На фабрике На предприятии На вокзале На остановке
6.8 This is a page from Roman’s diary. Write in sentences what he is doing each day. 3 Понедельник
реча 9.30 Вст е от б a p a н
бол 18:30 фут
19:00 Aнна - в бар
Read the following dialogues.
(On CD: Track 28- 30.)
8 Суббота 9 Воскресенье дения
День рож Ивaнa!
6.9 Мальчик: Что делаешь сегодня
вечером? Девочка: Вечером я играю. Мальчик: О, я тоже играю. Ты во что играешь? Я играю в футбол. Девочка: А я играю на скрипке. Мальчик: А, ты музыкант? Девочка: Да, а ты спортсмен? Мальчик: Да.
тбол :30 фу
– Добрый день! Как ваши дела? – О! Здравствуйте! У нас всё хорошо, а у вас? – Ой, у нас тоже. Вот, Миша играет на скрипке. – А наша Оля играет на контрабасе. – А как часто? – Она играет в понедельник, в среду и в пятницу. А в субботу обычно играет в консерватории на концерте. Оля играет на контрабасе уже 4 года. – Ой, наш Миша играет только 2 года. Но он играет 3 часа каждый день. – Ну, до свидания, до встречи в школе. – До свидания!
are Grammarc Squ or games? To play - musi
– Давай, давай! – Да, твоя команда плохая. И играет она плохо. – Это почему? – Потому что. Посмотри! Футболисты играют плохо, медленно. – Это твоя команда плохая! Смотри, это твои футболисты играют медленно и плохо. – Вот, вот, давай! Ну! – Нет, нет! – Гоол! Да! Гол!!! – Да, мои футболисты играют плохо.
Cпорт: играть + в
Играть в футбол, Играть в теннис, Играть в бадминтон, Играть в гольф, etc.
Mузика: играть + на
Играть на пианино, Играть на гитаре, Играть на барабане, etc.
4/2/2011 9:50:55 PM
6.1 Ha or B? - Fill in the text. 1. Профессор читает лекции ___ аудитории. 2. Они смотрят балет ___ театре. 3. Генрих работает ___ фирме. 4. Муж пьёт пиво ___ баре 5. Ольга сейчас ___ обеде. 6. Где твои родители? – Они ___ юге. 7. Инна смотрит фильм ___ кинотеатре. 8. Мы и наши друзья отдыхаем ___ острове.. 9. Дети отдыхают ___ парке. 10. Твой кофе ___ столе.
6.2 Put the red words to the table. Ha
Испапии, стадионе, семье, юге, школе, востоке, России, сайте, клубе, работе, офисе, концерте, театре, бурже, ресторане, магазине, опере, встрече.
6.3. Translate the following sentences. 1. He often swims in the sea. 2. My grandmother lives in Murmansk, a city in the North. 3. I live in Aberdeen, in Scotland, at the sea. 4. What are you talking about? 5. She was in the news. 6. We don’t talk about her in the presence of Ivan. 7. Anton lives in Japan now. 8. How are things at work? 9. Vera always talks about him. 10. He wrote many poems about Siberia. 11. I want to tell you about the rules. 12. John will tell his plans about the business at the meeting. 13. I work in the bar at the airport in Novosibirsk. 14. I read about the island in a book. 15. They also sell books in the cafe on the street.
Some content featured from: Russian Course by Nicholas Brown, Penguin, 1996. and RT.com - Learn Russian! online language course.
6.4. Fill in the text (using the red words) 1. Раньше люди жили __________________ , а сейчас живут __________________ . 2. Раньше рыбы жили __________________ , а сейчас живут ___________________ . 3. Раньше тигры жили _________________ , а сейчас живут ____________________ . 4. Раньше менеджеры жили _______________ , а сейчас живут _______________ . 5. Раньше Дж. Буш жил __________________ , а сейчас живёт __________________ . 6. Раньше Дмитрий жил __________________ , а сейчас живёт _________________ .
в пещере, в аквариуме, в Вашингтоне, в квартире, в зоопарке, в Москва, дома, в офисе, в море, в Tехасе, в Caнкт-Петербурге, в лесу.
The content was only used to present my graphic design for an educational brief. This has never been published in commercial use. //27
4/2/2011 9:52:55 PM
GREEN MOUNTAIN Corporate identity, 2010
This logo design was created for a brief at my graphic design course in 2010. The client were a well-established publisher of high-end coffee table books, mainly design and marketing related.
As I have many of these books myself, I wanted to design a logo that I would like to see on the spines of books on my bookshelf. It required an easily recognisable,
bold shape, that also represents serious and trustworthy content. Thus my choice fell on Georgia, a common contemporary serif with interesting proportions, to represent a modern publisher of marketing books. I intended to leave the colour green as suggested in the name, but I did not visually present the mountain shape to avoid becoming too literal, instead I have used the abbreviation. The next pages present how this could be used for promotion materials and corporate stationery.
RKK Identity Logo design and identity, 2007 This is a new identity I created for the School of Light Industry and Environmental Engineering at Budapest Tech (now University of Ă“buda). This was a brief at the European Digital Media Management in 2007. I used patterns and pictograms to express the nature of light industry and to attract creative students.
With the logo I wanted to express serial-production and industrial processes, which are at the core of light industry engineering: I played with the positioning of the letters to make it look like a part of a line of logos printed serially, complete with crop marks which, in the logo, could be associated as a + sign.
The school has several faculties specialising in printing, packaging, textiles, composites and environmental engineering which I expressed with commonly used icons on the poster explaining the application process. I got awarded for this work at the EDMM. //33
These posters were created for a competition brief for the International Society of Typographic Designers, during my last year of my graphic design degree course. The brief was the theme â€œImbalanceâ€? and I interpreted this as an imbalance in industrial production and other statistically observed processes.
IMBALANCE Infographic posters, 2011
While this subject might not sound exciting at first, my aim was to create an interesting and engaging set of posters which can explain statistical methods in a simple way for college or secondary school students in the subject of Quality Management or similar areas. I wanted to make it look easier with examples of how such theoretical processes are used in practice. //35
IF YOU LIKE THIS, YOU MIGHT WANT TO MAKE FRIENDS WITH THESE FELLAS TOO
tea (green) 25 bags
Is this one of those cold, windy, rainy days again that is almost impossible to end in a good way? No parking place? Missed train? Chill out. All you need is a lovely CUPPA. And we have selected the best quality, plain green tea leaves for a great, refreshing experience for you to enjoy - any time, anywhere. Although these bags only contain plain green tea leaves, please note that we packed it close to various pollen-producing herbs including elderflower and rose.
Our freshly picked tea leaves are packaged in unbleached tea bags for a more natural taste. Store in a dry, cool place, away from strong flavours.
...AND DISCOVER ALL THE OTHER CUPPAS TOO.
Produced in the UK using tea from various countries by Walter R. Campbell Beverages Ltd. Units 1-3 West Country Business Park Bristol, Avon BS19 8RE
(quite mild, soft taste) IF YOU LIKE THIS, YOU MIGHT WANT TO MAKE FRIENDS WITH THESE FELLAS TOO
Not a good CUPPA? Please let us know. +44 (0) 117 345 3453 Best Before
Our coffee is vacuum-mpackaged shortly after being roasted to preserve its freshness. Store in a dry, cool place.
300 g Produced in the UK using coffee from various countries by Walter R. Campbell Beverages Ltd. Units 1-3 West Country Business Park Bristol, Avon BS19 8RE
FOR ONE CUPPA, USE TWO TEASPOONS. DO YOU LIKE IT SWEET, DARK OR WITH PLENTY OF MILK? Find ideas for your ideal cuppa on www.cuppa.co.uk
Struggling with deadlines? This CUPPA is for you. Be careful though, we have selected the best quality rich roast coffee beans with very high caffeine content to help you through your night shift, study leave, or any extremely busy period that requires 200% performance. Please do not consume, if you are pregnant or breastfeeding. We do not recommend you to drink this CUPPA if you suffer from any heart-diseases either.
...AND DISCOVER ALL THE OTHER CUPPAS TOO.
(very, very very strong)
50 g (25 x 2 g)
YOUR CUPPA WAS TRADED FAIRLY.
GREEN TEA IS NATURALLY RICH IN ANTIOXIDANTS AND OTHER HEALTHY STUFF. TO FIND OUT HOW A CUPPA CAN IMPROVE YOUR HEALTH, VISIT WWW.CUPPA.CO.UK
YOUR CUPPA WAS TRADED FAIRLY.
Not a good CUPPA? Please let us know. +44 (0) 117 345 3453 Best Before
GROUND COFFEE IS NATURALLY RICH IN ANTIOXIDANTS AND OTHER HEALTHY STUFF. TO FIND OUT HOW A CUPPA CAN IMPROVE YOUR HEALTH, VISIT WWW.CUPPA.CO.UK FOR ONE CUPPA, USE TWO TEASPOONS. DO YOU LIKE IT SWEET, DARK OR WITH PLENTY OF MILK? Find ideas for your ideal cuppa on www.cuppa.co.uk
Packaging designs, 2010
(just stronger than medium)
This was a commercial brief during my graphic design course. My idea was to create the branding of a new range of coffee and tea products, sold for young adults. I named it CUPPA and created an informal verbal and visual language to appeal to young consumers.
I decided to be very direct, giving a face to the product, with expressions associated to the effect and flavour of the drink. They strengthen a friendly attitude to the product and make it instantly recognisable. I took extendability into account as well, to make space for a wide potential range of products. I tried to make an environmentally friendly design as well by creating a four sided packaging recycled paper sleeve to wrap around the vacuum-packaged coffee.
LIFE UP YOUR SPICE! Packaging designs, 2013 This is not technically a commercial design, as I have created this labelling system for my home spice rack, because I was unhappy with the standard supermarket packaging. I think they are quite uniformed, and I find it hard to distinguish them, even if they have the name clearly written.
To replace them, I have made these colourful labels that mark the colour of the spice as well as the shape and I tried to make the association of the flavours easier. I have used a bold font to make space for the play on colours and shapes of the herbs. The fonts are also large enough to wrap around the entire jar, so they can be instantly recognised without turning them around.
SPARKLING & STILL Packaging designs, 2007
This is another packaging design I made for a personal use, they were made for water-bottles, to be re-filled. I find our attitude to bottled water nowadays very wasteful and PET is a particularly pollutive material.
I don’t think recycling is enough, I think we need to use a lot less of our resources. For this reason, I have created these unique designs for bottled water that lack any brand name and can be re-filled. In Hungary, the traditional colour of sparkling water is blue, while still is usually pink, regardless of the brand. I interpreted this as “girl” and “boy” colours and designed the labels accordingly, influenced by the Milk-characters in Blur’s “Coffee & TV” video.
500 ml Expiry date: see on top
500 ml Expiry date: see on top
THE SECOND POST CD cover and poster, 2006
This was an made for an a demo as a “The Second whose music
album artwork and a poster design I unsigned musician, who was preparing solo artist, but kept his band’s name, Post”. He was an indie rock musician was dominated by acoustic songs.
My natural visual response to “a singer with a single guitar” was “a designer with a single pencil”, without of course, using too many clichés, and to make it clear this was no longer the work of a band but a solo artist, I have used a sketchy figure too.
SOCIAL DESIGN An important part of my graphic design works are those designed for a social cause, which are shown in the next couple of pages. Graphic design has a great responsibility in raising awareness and changing attitudes of all sorts of social causes. If a commercial design is badly done, it will damage business but if a social design is not done well, it can cause damage to society.
Because of this responsibility, it is most important that a work of graphic design is a clever and thoughtful piece. It depends on the subject whether it can be humorous or shocking, but in every case, it always has to be an invitation to think and act, and graphic design has all the means to achieve just that.
(On previous pages):
UNDERGROUND CORRUPTION Infographic design, 2013 (Competition entry, 2nd prize) This was an entry for the â€œVisualising Corruptionâ€? competition organised by Transparency International UK, and I was awarded 2nd prize for this. The brief was to design an infographic, based on some of the reports published by TI UK.
My work is showing I believe a good infographic a general pattern of corruption in design has its power in being bidding for a able to reveal something public contract, visually, that might not be so and my purpose was to show how clearly seen otherwise. - while its participants gain - damage is caused to fair competition. I have used the London Underground map as a visual reference, not only because it is a classic example of great infographic design, but also it works as a symbol that corruption often goes undetected and it is mostly happening under the surface.
Having grown up in Hungary in the 1990s, I have witnessed corruption on many occasions and Iâ€™m very aware and suspicious of it, I think corruption is at the very root of many serious environmental problems and human rights abuses. Despite this, I was very surprised to find that even typing in just the word â€œcorruptionâ€? in search bars of major UK newspapers resulted in news reports almost only from abroad - it seemed to me that this word means something distant, that happens elsewhere to the British press. Corruption is very rarely mentioned or referred to by the UK media as a major element of fraud or other crimes, and I was trying to address this with my infographic. My other observation that is specific to the UK is its advanced societal culture of clubs and societies, that on one hand is an encouraging and prosperous environment for creating business, on the other hand it lacks transparency and could also be a fertile ground for nepotism and corruption. I wanted to raise awareness to all this, in the simplest way visually possible with my design.
A SENTENCE ON CORRUPTION Poster designs, 2014
After my success with my infographic on corruption, I was inspired to create more on this subject. I feel very strongly about corruption, and I think it comes before any other social issue, because it is corruption that enables them. This work is in Hungarian, and instead of corporations or governments, it tackles the basic attitudes of people.
For this, I have used a famous Hungarian poem, “A sentence on tyranny” by Gyula Illyés, which is one long sentence detailing every particle of life in the 1950s communist dictatorship of the country. I have replaced words and references of tyranny with words of corruption, because ultimately, where there’s corruption, there’s tyranny, and where’s tyranny, “everyone is part of the chain” as goes the poem.
The association with this work is obviously very verbal, so the design emphasis is on the typography rather than illustration. This is very sharp and disturbed, reflecting how corruption literally leave things shattered around it.
BAD NEWS (ARAL SEA) Poster design, 2012 (Competition Entry)
This poster was designed as a competition entry for “The Future We Want - Drop By Drop” poster-competition which was part of an EU-funded international project themed around the shortage of freshwater our planet is facing. It is commonplace that we call
our forests “the lungs of our planet” which is where my idea came from. I think our lakes and rivers are also vital organs of the environment and I wanted to play with this imagery.
I have researched satellite photographs of the shrinking of the Aral Sea, which has virtually completely dried out, solely due to human activity. I re-drew them and presented them as MRI-scans, because I wanted to raise the alarm. People feel more worried about their human, physical health than the long-term health of our planet, even if the two are connected, and I wanted to show this link. I titled the work “bad news” because it is what a doctor would say if these were real scans of a vital organ.
KIRIBATI FLAGS Flag designs, 2013
These designs were created as a visual response to the news that plans are advancing about the complete relocation of the Republic of Kiribati due to the rising sea-levels that threaten to sink the Pacific atoll. I found it shocking and absurd, that an entire country will have to move to a foreign land, and I felt like I needed to create something to raise awareness of this.
Kiribatiâ€™s flag is giving an obvious opportunity for a visual play, with the waves of the sea taking up half the space, it makes it very easy to visualise the countryâ€™s problem in a single image.
So I have simply taken the sea in the national flag and increased its level to cover the rising sun completely, only giving space to the bird. It is a literal representation of what is happening now, but I have taken it even further and covered the entire flag in waves, washing everything away from it, to serve as a shocking warning of what may be the future.
TYPOGRAPHY Typography has always enjoyed my special attention of my graphic design works so I have separated a special section for it in my portfolio as well. My interest in typography origins from my interest in reading as I have always been fond of books since my childhood, and Iâ€™m interested in the appearance of the layout of the text and the letters themselves. I believe good typography has a great responsibility in attracting and engaging readers throughout a publication, and it also plays a role in creating an atmosphere around a text. My love for playing with words and letters is clearly visible in my typographic designs,
but I also believe good design is always driven by the content, and good typography is creative, but modest, and drives the eye and the mind on what it is being said, rather than how it is done.
THE TYPOLYMPICON Poster design, 2012 (Competition Entry, 3rd Prize)
This poster was designed as an entry for the ArjoWiggins Conqueror Typographic Games, prior to the London Olympic Games in 2012. I have received a bronze medal in the competition and my poster was featured in the September 2012 issue of Creative Review. The brief was to create a sport-related typographic poster featuring the sentence: “It’s not what you win, but how you conquer it”.
It is a simple sentence that leaves a lot of space for visual plays, to emphasise the difference between winning and conquering. In my entry I wanted to keep this simple and obvious, but without turning to clichés. I played with the “I” in the word “win”,
as it can be read as a Roman number one, as the first place. This displays a sense of glory and I have placed it on a flag. Achievement, however, is independent from this, and happens on the ground. Again I intended to play with the typography and I have taken the Q to be the centre, with its tail illustrated as a high jumper. With the colours and the graphic elements, I wanted to create an athletic atmosphere and emphasise motion.
NATURAL PHENOMENA Poster designs, 2014
This was a competition entry for Typography Day 2015, and the brief was to create a typographic poster using one or two words expressing nature, in my native tongue. This meant I had to use Hungarian words, and in my entries I turned to commonly used phrases that contained the word “nature”. The words for “natural phenomena” are on the opposite page poster.
The typography was inspired by my travels to Iceland where it is possible to observe many extreme natural phenomena. The letterforms seem to be formed by the cracking of rocks or ice, with a very sharp contrast that reflects on the harshness of natural environment. The letterforms are part of a process of vast natural forces at work, almost being crushed. This seems to compromise legibility but it is an engaging design that requires attention.
VALENTINEâ€™S DAY CARD NO. 1 Card design, 2010
Valentineâ€™s Day is a great opportunity to make small surprises with affectionate design. These set of cards are entirely typographic, I intended to create a minimalist typeface, made entirely of lovehearts.
It proved more difficult than it first seemed, so I did not create an entire typeface, but enough to express affectionate messages.
KINGOMAR + EMPTY SPACE EP cover and typeface design, 2007 As a student I was keen to practice my design skills and I approached unsigned bands on MySpace to offer them artwork designs for free. I created this artwork this way in 2007 for a Liverpool-based music group for their first EP. They needed a logo and I created a typeface for them which I named “Empty Space”. The music was similar to Kasabian’s I thought and to correspond with the electronic sounds in the music, I wanted to create a minimalist look for them.
I was experimenting with the minimum amount of lines that are necessary to read a text. To do this with the font body would have made the text illegible so I used a bold body with outlines instead. The result was this typeface which I used for other projects later. //65
PLANT Publication design, 2008 The idea for PLANT was born from a series of photographs by my photographer friend, RĂŠka Raffay. She took a series of pictures of indoor plants for a photo study, and I asked her to use them, to develop them further into typographic pages.
It was greatly influenced by early â€˜00s, minimalist graphic design, and I have too, used bold colours and Helvetica as a helping tool to achieve visual simplicity, but I also intended to make it selfindulgent and design-centred, as I was interested in how indoor plants, as parts of an interior design can be applied to a two dimensional space. It was featured as part of a Photography-Typography exhibition in the Contemporary Architecture Centre of Budapest, Hungary in 2009.
This was a typographic-photographic experiment I made with my friend, Krisztián Nagy who is a keen transport photographer. He took this picture of the Budapest Metro and I used it for a typographic study we were planning to publish on a website. I discovered the works of Londonbased agency BARK at the time, whose I was interested publication titled “Journey into Lost in how motion can Futurism” influenced my early work and found it very inspiring. It be presented on a greatly is dealing with modernist environments, text. and I was interested in how it could work in the socialist-modernist urban environment of Hungary.
VARIOUS STUDIES 2006-2007
This work was an experiment I made in 2007 as a response to the grungy, oversized, squeezed typography trend that dominated in advertising. I intended it to be a mockery of this clichĂŠ.
I wanted to prove that the shape and style could be recreated easily without any important content and this is what the text is about too. I posted it on my blog and since then it was featured on many typography and design blogs. //71
DESIGN CRITICISM For any creative thinker, discussion and debate about design itself is important for creative development. For this reason I sometimes make pieces that criticise design in its own language. I make them simply to tell my opinion if I see a design trend doing more harm than good, or if the way of visual communication is becoming thoughtless and clichĂŠd. None of these works are created to offend anyone, my intention is only to share my concerns and voice my opinion, acknowledging that my opinions are not shared by everyone. The next few pages present some of my main concerns about relevant trends in visual communication and protests against design attitudes I donâ€™t find useful.
CLICHĂ‰ NO. 3 Poster design, 2012
This is part of a series of sarcastic images I continuously create to mock design trends, when they lose function and become thoughtless. While as a designer I appreciate fashionable imagery, and I recognise how important trends are for marketing, I find it mind numbing to work with them, because there is very little thought and creativity that can be put into such works.
When certain looks and graphic elements become overused and exhausted â€“ no matter how good they look â€“ they simply lose their function of standing out and from that point they are no longer good designs in my opinion. What particularly worries me about attractive texts and nicely designed words of thoughts becoming fashionable decorations is that they do not require abstraction, or any visual thinking at all. I am a designer, and I appreciate the beauty of letters, but I find it extremely empty to use them only to decorate, it is an insult to words, and it insults the typeface too.
GRAPHIC CHART Opinion-graphic, 2012
I created this as a tongue-in-cheek visual response to so-called infographic charts circulating in the online media. While I am extremely fond of data-visualisation as a designer, I feel uneasy about this current trend. The reason is that I simply don’t think a lot of them are “information graphics” at all. While they look good and I acknowledge the energy and time spent on creating them, they are merely illustrations, sometimes completely lacking any informativity at all, adding nothing to the data that is clearly pronounced in the text surrounding it. I think design tries too hard to self-importantly revisualise data because of the misconception that it would be “boring” on its own.
However, I think the data itself is interesting enough without distracting and distorting design elements that carry a risk of distorting and oversimplifying important information.
A good infographic design serves as a clear and understandable visual explanation of an extent of complexities. If the data is simple enough, it does not require any further decoration. Images next to clear facts is illustration, not explanation.
The icons and drawings on these popular graphics are sometimes in fact so multidimensional that they become too difficult to size them proportionately to the data they are meant to represent. Sometimes they end up largely out of proportion and sometimes the data contradicts itself on the graphic too. I find it dangerous when these images are used as a source, rather than a mere artistic illustration, because they can be misleading for these reasons. //77
NO-TRAINERS Advertisements, 2013 This series of images are parody advertisements mocking sporting adverts, particularly those seen at football matches but also elsewhere. Many of these sporting adverts trying to be over-the-top and attribute toxic chemicals to their products such as “mercurial vapour shoes” and claim that they are made of “energy boosting fabrics” or that it can “hydrate better than water”.
I find these adverts ridiculous and they insult the customers with this level of stupidity. It also goes against the advertising trends of the last few decades that have seen a growing detachment from emphasising product benefits, recognising they have reached their limit of selling abilities. As a response, I have created my own series of adverts in similar styling, with ridiculous claims such as “Gravity is an option” and inventing my “Asbesthos shoes”.
LIVE & BREATHE Poster design, 2013
As a creative thinker, I find it a wrong expectation to be a “design-addict”. Addiction is an illness that narrows the mind, and no creative person must allow that. I simply don’t think that being obsessed with design leads to creative solutions, on the contrary, I believe it carries a great risk of following trends and clichés and it is just the open path to mediocrity.
I believe if designers become too selfindulgent, they simply lose their audience because they don’t respond to their demands. In my view designers should be open-eyed, open-eared, and open-minded to every subject that surrounds them because ultimately our trade is only serving other trades to operate better, and to be good at it, we must be well-informed. I have used a wild and violent oil pastel technique to show what I always imagine when I hear the phrase “live and breathe all things design” (a cliché itself): suffocation and struggle for fresh air. This poster design is a protest against narrow-mindedness in design.
Making illustrations is something I have always found a great joy in, and the results of these works are sampled on the next pages. Illustration is an artistic response to other art forms, such as literature or music and I enjoy making illustrations because I am so keen for other arts too. I always find it exciting to discover how I can explore this area in my way. I donâ€™t have a favourite technique, I like traditional techniques as well as digital ones, what Iâ€™m using always depends on the subject matter. I sometimes mix the two (traditional and digital) to create collages.
Like most of my work, my illustrations are concerned around space and place, I think to create a unique atmosphere is the most important task of illustration.
PYLONS Cards, bags and cushions, 2014 This series of images came from a textile design project I started a few years ago. I developed them into more simplified drawings and applied them on greetings cards, cushions and canvas tote bags.
It is a very simple, modern and fun image paying tribute to these structures that bring electricity to our homes.
ST. PATRICK’S DAY CARD Card design, 2013
I have made this card for my Irish friends. Celebrations that I don’t have past experiences of, being from Hungary, have always fascinated me. Days such as Valentine’s day or St. Patrick’s day have always been of special interest to me.
The idea for this card to use one leaf of the clover as a heart was an old idea, but I modernised it in 2013 to create a contemporary and minimalist look, and posted it as an e-card.
VALENTINEâ€™S DAY CARD NO. 2 Card design, 2008
This card design was originally titled U R ACE, as it shapes a giant ace of hearts of a pack of playing cards. It is a simple, but playful and affectionate design. I hand-cut the shapes for the letters and placed a red card inside that can be written on, for a personalised message.
BIRTHDAY CARD Greetings card design, 2007.
I have made this little booklet for a friend for his birthday in a bold, childrenâ€™s book style. I wanted to create a little game, that ends with the birthday wishes.
The story is simple, I hand-cut each page in the middle, shading and shrinking towards the last one, depicting a different source of light until the last page, which is a birthday candle, containing the customisable birthday message.
JAPANESE FOLKTALES Various techniques, 2013
The following images are my visual response to a series of Japanese folk tales, that have been translated and adapted for radio by NHK World. Opposite and below belong to â€œUrashimaâ€?, my favourite story that is about a fisherman.
The â€œUrashimaâ€? story (see illustrations on previous page spread), is about a fisherman who, for being good to a turtle, gets rewarded by the Sea Queen to spend some time celebrating with her under the sea. When he decides to go home after some months, he receives a box which he must not open. When he returns home, he finds his village changed and he finds out he spent hundred years away, and when he opens the box in despair, he becomes a frail old man.
I found this a really beautiful tale with a profound meaning, and I used watercolours to create a bright, seaside atmosphere. I wanted to emphasise this sense of freedom, which turns into a threatening and lonely emptiness.
The illustrations on these pages are made for â€œThe Tale of the Bamboo Cutterâ€? which is a story about a princess who is found and raised by a bamboo cutter. When she is old enough, her father wishes her to get married, but, because she does not want to, she sets impossible tasks to the men wishing to marry her. None of these challenges are successful in the end and she stays with her family but later she has to say a sad farewell, because she is from the Moon, and she will have to go back there.
I loved the magic of this story and her stubborn character who refuses to marry. I illustrated this with a black ink pen, to make it contrasted and emphasise the shining brightness of the Moon, and I also used a circle in each composition to associate to it.
FLOWING Digital illustrations, 2013
These are digital paintings I made in Photoshop with a digital pen. I wanted to express the constant motion of air with a flowing effect, but I also used it to create a texture similar to the surface of wood (see next pages).
I love nature and seasons, particularly spring and autumn, as these are seasons of change and motion, when time is moving from one still stage to another. I find nature very exciting at these times, and I wanted to picture this excitement and flowing, with fine and detailed colours. The shapes are secondary to the colours and the atmosphere. I realise this is quite an impressionist idea and these images can be viewed as digital impressionist works, which were also inspired by Far-Eastern imagery.
PORTS Postcards and digital graphics, 2012 I created these images of my own photographs of local coastal towns and villages, to be used on T-shirts and cards. I tried to create a tongue-in-cheek, overdone summery atmosphere with the bold choice of colours and retro typography.
There is some humour in Scottish fishing towns appearing in the style of Pacific surfing paradises or French riviera towns.
My purpose with it was to entertain, and to create new, fond thoughts for these places.
I originally intended them to be made into postcards, but they are fitting tote bags and t-shirts too, so I made them available on my Society6.com profile on a wide range of colours. //100
BALLET DRAWINGS Digital illustrations, 2013
I love ballet and dance theatre, and these images are my tribute to it. Unlike traditional drama, physical theatre purely and simply relies on visual communication, that I think dance and design leaves space for connected, body movements more abstraction. This series of tools of spatial design, images were created visual expressions too. from sketches I have done about key movements of classical ballet. I imagined them in stage scenes, but I took the movement itself to be the centre, and I kept the sketchy style to it, which could be interpreted as rehearsal, from a dancerâ€™s angle. The colours and the rough lines represent the waves of music.
are are and
DANCING IN SPACE (THE PLANETS) Digital illustrations, 2013 (Competition entry) This was my entry to The Cheltenham Illustration Awards in 2013. The brief was to create an illustration to Gustav Holstâ€™s composition â€œThe Planetsâ€?, but also applying the theme of memory. The composition is a modernist work, consisting of seven separate pieces, each representing a different character, a different personality attributed to a certain planet. They also make a continuous line in time, starting with youth and finishing with old age.
My response to this featured dancers, as I imagined the pieces of music danced on stage by different characters. The figures are made up of fluid lines, interwoven into their environments, creating a map-like surface. They also show a slight resemblance to bacteria in petri-dishes, that could signify a search for new life elsewhere. The theme of memory applied here is of childhood, the resemblance to marbles and the bright colours represent this.
CROQUIS Pencil sketches, 2013
A great way of practicing my observation skills and my drawing skills is croquis, or speed-sketching. An extra challenge to do this watching sports, or dance, as the movements there change so rapidly. My favourite sports are fencing and figure skating (see next pages). These are very quick but also have their typical positions that help understand a figure, and I like challenging myself and getting speedier and speedier.
On a â€œnormalâ€? sketch I would spend a few minutes, but in sports and dance there are only a few seconds of a certain movement. This is not enough to draw, but it is enough to observe and memorise (sometimes they repeat) and start drawing based on this.
SKECHI 2014 Sport illustrations, 2014 This series of illustrations developed from croquis during the Sochi Winter Olympics. Iâ€™m a big fan of winter sports, and I also wanted to develop my drawing skills by paying attention to different body movements. Instead of using pencils, I turned to ink pens as they have a certain dynamic that suits winter sports better.
I liked the colourful graphic design theme of the event, and I used marker pens to match this, and to express the bright colours of the extreme sportswear some athletes were wearing.
KONKRET Digital illustrations, 2012
This is part of a series of digital illustrations Iâ€™m creating about Scottish cities, based on my own photographs. This one is about Glasgow and its concrete architecture.
I have a great fondness of this material and modernist architecture in general and Iâ€™m interested in its depths and layers, and I want to explore our relationship with it, why it became the chosen material for some decades and how its reputation changed with time.
RANDOMBURGH Digital illustrations, 2010 This was the first digital photo-collage I made about cities. It is about Edinburgh and its area, as a foreigner living in Scotland, often travelling and discovering new places, it intrigues me what kind of image cities have and how they are perceived by visitors. I intended them to be made into postcards but I also sell them as large prints.
I found that the Scottish capital has an image of a more historic, traditional beauty, but I actually find it a vibrant, exciting city that has a rich industrial heritage too, and I wanted to explore this other kind of beauty.
Fabrics and textiles are to me the greatest form of expression as they allow me to think in layers and structures, and in infinite dimensions. I have always been interested in repetition and patterns, and the design of surfaces. I think a good surface design can completely change the atmosphere of any place.
Textile and surface design is one of my main creative fields. Because I have such a strong graphic mindset, I mainly create patterns for print, but Iâ€™m also excited by the structure of fabrics and itâ€™s something I would like to develop in, in the future.
I believe good surface design is always corresponding with its environment and help an area emphasise its feel while expressing thought.
PICKLED SCISSORS Product range, 2014
I launched my range of unique, hand-finished products using recycled textiles in 2014. It currently consists of shopping bags, cushions and scarves but I’m interested in expanding it to other home and fashion accessories.
I started experimenting with traditional Indian printing blocks, and I tried them on different, used fabrics which I had hand dyed previously for an interesting effect. I was pleased with the result so I bought canvas tote bags and cushions with covers to use them on. I like working with waste and find out what becomes of them in their “second life”. I also think it’s a great way of promoting environmental awareness and developing new ways of traditional techniques such as hand-dyeing and block-printing. The vintage effect of the end result are popular with young people.
THE HOLY â€˜TRICITY Printed patterns, 2011 This is a collection of patterns which were inspired by electricity pylons as I have always been astonished by the mathematical beauty of these structures. I find them great in repetition and they make an exciting landscape.
I have hand-drawn the outlines and coloured them digitally to take away the strict edge of them, I wanted to make friendly patterns of these industrial landscape icons, and to create a cheerful and playful collection of textiles that could be used in large scales as interior design fabrics.
THE LITTLE MERMAID Digital pattern, 2013 (Competition entry)
This was my entry to the digital fabric design competition of DIY couture. The brief was to create a textile design digitally, My entry was inspired around the theme of by deep sea creatures, â€œImmense depthsâ€?, two digital moodboards such as jellyfish. The were supplied with Pacific Ocean and its many different images atolls have always been (mainly sea-related), to inspire the fabric fascinating to me and design. I wanted to create a
I aimed for a modern, pattern that expresses digital look with the this colourful world. glowing, neon effects that can also be perceived as the electric and glowing creatures living underwater. The sparkles could also be seen as the Moon reflecting on the surface of the water.
GRAPHABRICS Digital patterns, 2008.
I created these plain patterns for a collection of fabrics as a student of textile design. I was inspired by the physical appearance of radio waves and the electric impulses they create. I wanted the result to be plain and minimalistic, with some amount of playfulness in it, but keep thin, fine lines as the main element of surface design.
Mathematical and physical structures are always patterns themselves and I wanted to take advantage of this to place them on fabrics.
LETTERNS Typographic patterns, 2008
This series of patterns were created for a brief in my textile design degree course. The task was to create a set of monochrome patterns, using only a single letter in a given typeface which was imitating Oriental letters.
I have chosen the letter “W” as I immediately saw the opportunity of mirroring it into an interesting shape that resulted in bold patterns with a retro atmosphere, reminiscent of op-art. I have enjoyed the combination of typography and textile design so much that I am planning to create a series of different patterns on the same principle and I made up the word “lettern” for it, merging letter and pattern together.
Digitally printed fabric patterns for scarves and clothes, 2010
I have created these digitally printed fabrics for a selfproduced collection, on viscose jersey (current page spread) and cotton voile (next page spread). I designed them for clothing and accessories, with the intention of keeping a continuity in textile production after my graduation in 2010.
They all feature elements of the Scottish industrial landscape, as it continues to inspire and influence me. I have created these patterns entirely digitally of my own photographs. I wanted to correspond with the current trends of Autumn/Winter 2010, when photographic patterns were featuring in many collections.
DEGREE COLLECTION Collection of textiles and clothing, 2009. I have created this collection of textiles during my internship at the Glasgow School of Artâ€™s Centre for Advanced Textiles in 2009. The influence was obvious,
I was very inspired by Charles Rennie Mackintosh and his works. I wanted to interpret his design elements into a loose, contemporary urban environment and I printed them on jersey fabrics to create a cosy, comfortable collection of clothes.
After I have finished my internship and the fabrics were ready, I have made them into simple garments. The shape of the clothing was deliberately left straight and loose to emphasise the pattern and to make them comfortable. When the garments were ready, I have asked my friend, Katalin Dovydénas to wear them as my model, and other friends, Réka Raffay and Gabi Vígh for their help to make professional photographs under my styling directions, and when the photos were ready, I created a brochure of them, using the graphic elements of my patterns.
GIPSY SPIRIT Textile designs, 2010
I designed these intensive and bold patterns in 2010 as a practice only, but I was very pleased with the result and Iâ€™m keen to develop it in the future.
I created them digitally from stock images from a Pepin Press publication (Floral designs). I changed the colours of the original images to emphasise the brighter colours, and I disintegrated each I was inspired by Russian and Balkanic element, creating Gipsy textiles, I have always been some pixel noise to make them fascinated by the European Gipsy too, look broken up and cultures, and I also find the romantic grungy, giving them perceptions of a travelling lifestyle a loose, careless, free feel.
interesting. I wanted to express these ideas in a series of noisy, bold patterns.
TEXTILE ART Textile art, or fiber art is a special kind of fine art, that is created with fabrics, paper and other kind of materials, with exciting surfaces and structures. I find these textures fascinating to work with, so this form of art became one of my special ways of self-expression. I have been studying and exploring the I think threads are a very methods of working strong graphic tool and I with these techniques the next few pages like using them as pencil and show the best of my strokes, to draw with works in this field. stitch. However, working Some of the artworks are for sale.
with different textures and stitches also give an enormous opportunity for more abstract work.
KILL YOUR GERMS! Textiles and painting, 2014
This is a mixed media work that features watercolour painting on adhesive fabric, and drawing with stitch as well. It is a finished hand study, so in the focus is a pair of hands under a tap.
This work is a study, magnifying and examining a simple act we all carry out countless times a day without thinking. Iâ€™m interested in repetition and how each time a seemingly meaningless routine turns into something different. It could also be an interpretation of the metaphorical meaning of washing hands, from crime and corruption, and the title is an ironic reference to the dirty and run-down environment of this act of cleansing, how clean can we get if there is rust and mould all around us? //147
CONSTRUCTION Fabric painting and embroidery, 2013
These stitched images are my experiments of layering fabrics. I have dyed them by hand and printed them with found objects, then stitched them together and drew on them with thread.
I have always been fascinated by cranes and metal structures that are built to build. I appreciate their beauty but I also wanted to explore their function of building and how this large-scale process of creating new space works. I view it as a constant circle of destruction and construction, as functional things never last forever, they become redundant when they lose their original purpose and this decay and destruction is a ground for rebuild and this is what I wished to study with these works.
UNTITLED I-II Stitch on fabrics, 2014
This work of stitch-studies were created at a workshop with Scottish tapestry artist, Fiona Hutchison. The theme of the three day long workshop was drawing with stitch and the exploration started with some mark-making exercises that had to be turned into stitched works later. I really enjoy working with The end results are these two monochrome, monochrome marks and discovering abstract works with textures the various depths of black and exciting rhythms. Such white, and to work with all their and as the original ink contrasts. My ink marks had a drawings, these could lot of repetition and rhythm in also be seen as small parts of a bigger them, and they could be quite system of cycles and interestingly translated into wavelengths.
CRACKS Textiles and stitch, 2014
This work was also created at the “Drawing With Stitch” workshop, with Fiona Hutchison. The final task was an independent exploration of creating new surfaces with stitch, and with the threads I had, I associated to a cracked, battered, mouldy surface, the collapsing walls of a derelict building.
The monochromes of the dark black and gray were balanced out with vibrant green at places, representing moss coming through crumbling walls. I have always been interested in the cycles of decay and how quickly life appears in “dead” places. This work intends to reflect this cycle and the textures reflect on the different layers time has laid in a place, a section of this it is taken out of its context and examined through stitch.
AUTUMN FOREST Wall hanging, 2014 This work is a very colourful result of experimenting with soluble fabrics and free form lacing. I have always been interested in 3D structures and Iâ€™m keen to develop my skills in this direction. I have used many different kinds of threads to make up a structure with increasing density upwards, like trees in a forest, coming only from a couple of main roots.
Autumn is my favourite season, partly because of the colours nature displays at this time, and my work is a celebration of these colours. As I was not using any additional fabric to the soluble fabric layer I was working with, this structure solely relies on the threads and the stitching.
(On previous pages):
MY WARDROBE Wall carpet, 2014
This is my most personal work in the field of textiles, made up of a large piece of 2 metres long fabric that is 75 cm wide, and is decorated with clothing labels on its entire surface to make up a traditionallooking pattern. I have kept every
single label of my shopping sprees, for the purpose that one day I will lay them out and see how much I spent on fashion and things I donâ€™t really need. Itâ€™s how this work became a largescale confrontation of my own consumerism.
The form and the pattern of the carpet itself is a reference to ancient, handmade cloths, that were valued for its spiritual meanings, and are all unique. It is a sharp contrast to the mass-production process and the consumerism that the labels themselves represent, and so this work is showing the transformation of the textile industry.I have machine stitched each label, and for such a large scale work it proved to be very time-consuming. This process was a reflection itself on the labour these textile products require. Because of the scale of this work, it is quite a spectacular exploration of this transformation.
QUALIFICATIONS Graphic Design BA, University of Hertfordshire (Interactive Design Institute) //2011 Product Designer in Light Industry Engineering BSc, University of Ă“buda, Budapest, Hungary //2010
AWARDS ArtKudos 2014 - Shortlist Visualising Corruption, Transparency International UK 2nd prize //2013 Prosperity Illustrated, The Legatum Institute 2nd prize //2013 The Conqueror Typographic Games, ArjoWiggins 3rd prize //2012
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