Meet The Designers

ME ET THE DE SIGN E RS

BY C H LO E , J O H A N N & K E L LYA N A

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ME ET THE DE SIGN E RS This ebooklet is a presentation of analytic work of practitioners that have inspired our individual work along with copyright laws. Created by Johann, Kellyana and Chloe for assessment 1 , Professional Development Module under the guidance of Marit Muenzberg.

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Neville Brody Copyright Laws

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Rosa Schurian - Stanzel Copyright Laws

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Stephen Heffernan Copyright Laws

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Bibliography

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CONTENTS

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Introduction Contents

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NEVILLE BRODY

BY CHLOE EDGAR

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NEVILLE BRODY is

a

m lot

ore than just a

few

“De sig n

e brain” - Ne o th v i ll e st ck B rri

Copyright allows creators to protect their material from anyone copying or using it. This includes creators of literacy, dramatic, musical and artistic works. The current copyright law in the UK is: The Copyright, Designs and Patents Act 1988. This law covers: broadcast and public performance, copying, adapting, issuing, renting and lendies to the public.

However, copyright only protects the independent creation and not the idea behind it. For example: if

05 - Text by Chloe Edgar

an artist writes a song, someone else can write their own song based on the same idea provided they do not directly copy the original. Therefore to summarise this example, the idea of the song is not protected but the actual content of the song is; and this is how copyright works in basic terms. Copyright does not cover names, titles, short phrases and colours as they are not considered unique enough. On the other hand, a creation such as a logo, including some of

few

E X P LO R AT I O N O F UK COPY RIG H T L AWS

the eye. It’s a

. dy o r

s to ck tri

Neville Brody is one of the most well-known graphic designers to date.

He was born 23rd April 1957 in Southgate, London. His design work is noticeable due to his manipulation of typography which he does in a very unique and unusual manner.

the elements listed previously, could be covered.

It is not required for creators to register for copyright in the UK as providing their work is ‘original’ then copyright arises automatically as soon as the work is created and in material form.

On the other hand, it is still advised for copyright owners to mark their copyright material with the copyright symbol: © alongside the name of the publisher and date of publication. Despite this not

T H E IN DE PTH AN ALYSIS OF NEVILE BRODY Brody studied at the London College of Printing for a Bachelor of Arts degree in graphics. Throughout this period of time, his designs were regularly labelled ‘uncommercial’ by his tutors. This was because his work was highly influenced by the current era of punk rock in the 1970s. Despite all this negativity surrounding his design work, Neville Brody still continued to explore the new boundaries in graphic design and he made his way into the public eye with designing record covers and posters for bands.

Brody’s first big success during college days was working as an Art Director for ‘The Face’ magazine (1981-1986) where he was able to put his ideas into practice and set new precedents. This revolutionised how designers and readers approach the medium.

During this period of time he also redesigned the two leading English newspapers/magazines at the time: ‘The Guardian’ and ‘The Observer’ which were both designed with radical looks. It was Brody’s work on magazines that established his reputation and his challenging work gave a new meaning to visual language. fonts. He then went on to a new project called ‘FUSE’ with Jon Wozencroft in 1991. This was an interactive

being necessary in the UK, it helps in the event of infringement. Furthermore, when enforcing copyright in certain foreign countries the copyright symbol is needed.

The duration of the copyright law varies based on the type of material published. For literacy, dramatic, musical or artistic works, the rights are applicable for 70 years from the end of the calendar year in which the last remaining author dies or until the work is made available to the public by authorised

publishing to films; other projects handled are: packaging, website design, on-screen graphics and corporate identity. This received great recognition abroad which has led to multiple branches in Europe, including Paris and Barcelona. In more recent years Research Studios has redesigned ‘The Times’ in 2006, and with the creation of a new font ‘Times Modern’ and the ‘BBC’ in 2011.

magazine created to challenge current ideas about typography and visual language which includes a collection of experimental typefaces and posters.

Throughout the whole of Neville Brody’s creative career, he has consistently tested the boundaries of graphic design and always pushed them as far as possible with radical designs. His determination as an individual inspires me to always follow my own style and to not be phased if it is not always met with an open eye. I love to design out of the ordinary and to have my own unique and distinct style, which is very similar to Brody’s style of design.

I enjoy how he manipulates typography within his designs, and this is the style I hope to adopt and use to develop my own unique style, like Brody’s.

Overall, I identify with Neville Brody as a designer and I plan to use his work to inspire me whilst moving forward in my design career.

In 1994 Neville Brody established his very own design practice in London: Research Studios. The studio creates visual languages for industries, from

performance. Additionally, for sound recordings or broadcasts copyright is applicable for 50 years after the last remaining author dies or until the work is made public by authorised personnel. The duration of the rights for films published are the same as those for literacy. Finally, for typographical arrangement of published editions the rights are applicable for 25 years from the end of the calendar year in which the work was first published.

All creators who are eligible for copyright work are

also given moral rights. Moral rights are a collection of personal rights, allied to copyright and these belong to the author of the original work. These rights include: the paternity right, the right of integrity, false attribution and the right of privacy. These moral rights allow authors to identify themselves as the author whenever the work is published, to object to any derogatory treatment of their work, the right not to be identified as the creator of a work created by someone else and the right not to have copies of work broadcast or issued to the public.

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ROSA SCHURIANSTANZEL

BY JOHANN GOESS

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ROSA

SCHURIANSTANZEL sle s

ons I

ca ptu re t he ha s

of o ur e ROSA. veryday live s th is the rou gh the brand name cre ati of Austrian Illustrator on

e cas how nd s les a u gg l str gica holo psyc rror

al i ssu es. ”

of s pe cif

i at m s th cter hara ic c

“W ith my illus tra ti

and Costume Designer Rosa Schurian - Stanzel. Her distinct style can be found across different mediums.

hic osp phil

COPYRI GHT L AWS In Austria Intellectual Property (IP) is being protected by the Uhrheberrecht. As a graphic designer it is very important to be aware of the laws surrounding the use of other people’s work as well as the rights we have that are connected to the creation of our own work. While the basic idea might be similar, most countries handle the issue differently and it is our own responsibility to inform ourselves of these changes.

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Copyright is the right of the “creator” to the “work” that he has created. He is the only one who can determine what happens to their work. To qualify for such a protection they have to own a certain level of originality which sets them apart.

Works that mostly meet these criteria are advertising texts, graphic designs & interesting layouts,

photographs, “memorable sound sequences”, short films and complex computer programs.

However the idea or the concept is not enough to be protected, as it needs to be a concrete development of this idea.

But the moment “an essay, a book or a piece of music has been written down, a construction plan has been designed, a picture has been drawn or a photo has been taken”, so a work has been created, the copyright arises “automatically”

TH E I L LU STRATED BE AU T Y O F ROSA .

Rosa Schurian - Stanzels interest in the arts can be easily traced back to her upbringing. Being the second child of austrian cultural journalist Andrea Schurian and her husband the painter Rudi Stanzel, she stated it was clear to her that she will work within the creative industry. From the early age of five years old she started to participate in the Vienna Youth Theatre Group. She started drawing and illustrating soon after.

In 2015 and 2017 Schurian - Stanzel acted as a runway model for the viennese fashion brand Kayiko at the MQ Vienna Fashion Week, which was her first contact with the fashion industry. She continued acting until she finished high school in Vienna with distinction and went on to study fashion design in London at Morley College.

During her studies she illustrated the poster for a public interactive performance in Vienna that commented Austrian Immigration Policies (third image from the left). In 2019 Schurian - Stanzel graduated, again with distinction.

Her very distinct and eccentric hand drawn illustrations have been gaining popularity in the austrian art community and can be found covering children’s books, in magazines as well as costume illustrations for theater productions.

As she doesn’t want to limit herself to one discipline she has transcended past the traditional career path of an illustrator and focused on the merging of multiple art forms. This culminated in her “Enter the Garden Rosa - Exit your Comfort Zone” interactive performances in 2017/18. Her work previously focused on different personal characteristics and how they solidify in actual characters, as well as on philosophical conversations such as in the “Time.” project. Both of which included a combination of illustrations as well as garments. The intention to focus on clothing with an extra layer of functions, demonstrates her ability to produce original work within areas that have been the topic of countless projects in the past.

and it does not need to be registered manually.

As there is no government institution where you hand in your work to prove your right for protection, if you are in a legal situation you will have to prove your creation using personal files, records and notes taken during the creation process. In Austria, the creator of a piece of work is the sole person who can take the decision if his work is being reproduced, distributed, publicly presented, broadcasted or uploaded to the internet. This is very important to consider when using other people’s work and especially in graphic

design often work is being uploaded and spread on the internet without the creator’s permission.

In Austria there are additionally “Leistungsschutzrechte” in place which means that a piece of work can be protected multiple times.

For example a CD, as the work itself is protected as Intellectual Property as well as by the recording company.

Works that qualify for copyright protection will be protected for 70 years after the death of the creator.

If it was created by multiple authors this rule applies

In 2020 she began her studies in Art Theory and Philosophy at Central Saint Martins in London.

Her already strongly developed unique style and her willingness to push boundaries of different art disciplines, serve as inspiration to me. I think that her strive for adapting her work to different materials and formats is something that I would like to explore further too. Additionally her philosophical approach to art and her transformation of these ideas into art is interesting as her thinking is unorthodox.

Additionally her style walks an intriguing line that remains authentic while being over the top and the thin line between spontaneous and intentional is ever-present. This playful atmosphere allows it to be used for children’s books but also for more mature themes.

This can be observed when analysing the “Morning” character (first image from the left) where she applied a bright color palette, which radiates an oppressing feeling that something is not entirely right. This is due to her strong use of lines that are usually very thin and create an unsettling feeling that is being opposed with the use of yellow.

This contrast creates a balancing act that to me represents her authenticity. This links to her aim to share autobiographical everyday problems in an accessible and relatable way without lacking the depth of certain issues.

after the death of the last living member.

Whenever work by others is being used in any way, the permission by the creator has to be asked for.

However there are free licenses that allow the use.

When the work is being used and left unchanged, usually only one license is needed, however when changed (translation of text), shortened or added or connection to other work (music for a film) the author’s permission has to be asked specifically for the intended use.

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STEPHEN HEFFERNAN

BY KELLYANA GF

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STEPHEN HEFFERNAN ‘Having a personal interest in what you do is so important. A nyone can learn to mock up some work on a bill

in their work’ (Stephen Heffernan n.d) lity

Well-known Dublin based Graphic Designer and illustrator. Known for his work under the pen name Hephee.

Started as the the co-creator of Peachy Dublin, a creative collective and now works at Irish Distillers. n board but it’s a lot more exciting when somebody shows perso a

AN E X AMIN ATION O F CO PYRI G HT Intellectual Property (IP) is the result of

someone’s intellect, which covers inventions, poems, ideas, art, film, designs, sound recordings, music, etc…

The value of IP will depend on the appeal that it may have to others. IP must be distinguished from physical objects owned by people such as clothes, cars, houses, etc. The Irish Patent Office (www.patentsoffice.ie) states that “National and International laws and conventions recognise the product of a person’s mental

13 - Text by Kellyanna GF

efforts as an intellectual property right (IPR). Thus an individual’s creativity and innovation can be owned in much the same way that they can own physical property”. (Patent, n.d.)

People get IPRs, so they can get a benefit or financial gain from IP, usually for a limited period.

This benefit helps the creators of IP to cover costs associated with its development as well as to promote the creation of new IP.

There are two main IP categories: • Industrial property, i.e., patent applied to inventions, trademark and industrial design,and • Copyright, applicable to literacy, music, arts, photographic and audio-visual works.

As a graphic design student, it is essential to be aware of IP and how it impacts what we produce, how we showcase our work and make sure it is open source or referenced correctly.

Initially, the first copyright owner, unless the work is commissioned or for an employer, is the author, i.e., the person who creates the work. It is possible

THE CULTURAL IDENT I T Y O F ST E P HE N He started off studying Multimedia and Computer Science in IADT, where his profound interest dived into the art of culturally communicating through doodles with a tongue in cheek attitude. His Instagram is distinctively simplistic but effective illustrations of sarcastic jokes, political topics to Irish cultural references, something we Irish call ‘banter’’’ but he makes a statement along with it.

This is seen in the below image. An Irish emblem ring called ‘Claddagh ring’’ representing love, loyalty and friendship. This is only a recent illustration

created by Hephee to showcase the current events of ‘Black Lives Matter’.

His signature style is lively and colourful that attracts the viewer to its contemporary Irish cultural domain filled projects. Someone who isn’t from Ireland would not understand the semiotic wit to his art.

“A lot of my work is satirical or based on little jokes but I like the idea of representing different

aspects of Ireland in my work that’s outside of things you might find in places like Carroll’s,”.

(CollegeView,n.d) He inspires me through my practice due to his continuity through his work, the simplistic approach to his style and the patriotic wittiness. I love how he makes it personal to the Irish and makes you feel at home. He really knows how to reach out to his target audience which would mostly be Irish.

On the left-hand side, I have showcased some of his work that is relating to branding collaborations with a renowned whiskey brand, Jameson. Then some fun images found on his Instagram which relate to cultural Irish references.

The bounty bar is an Irish nanny’s country-folk charm. You either love them or hate bounty just like the typical GAA games that are played in Ireland.

Giving the illustration a symbolic represent the ideology or philosophy of the Irish. If you aren’t Irish you would not understand. I am highly influenced by his techniques as any other person, it brings comfort to view something close to home. Giving it an apparent cultural homogenization.

to have joint copyright owners like this eBook-let that we are about to produce as a team. Copyright is an IPR and the law allows the owners to either authorise others or not to copy the IP, to make the IP available to the public or to make an adaptation from the IP, typically in exchange for an economical compensation.

Copyright protection is automatically given to someone’s work as soon as the outcome is produced, i.e., put on paper, film, DVD, Internet, etc.

To place a copyright symbol to my work shows that I have ownership of the overall material. It is worth to highlight that ideas on a person’s mind are not

protected by copyright law, and only the form in which ideas have been expressed is protected.

For this reason, it is critical to keep records of the work created, and the creator of IP must be able to provide evidence of when the work was created if legal action was needed at some stage. This piece of evidence can be gathered by depositing a copy with a solicitor or by mailing the work to oneself by registered post to prove its existence at a given date.

Copyright protection granted to someone’s work is different from country to country and depends on their national legislation. It is crucial to seek out

permission to use other authors’ work if we are getting paid for the work produced or refer it correctly if used for college purposes.

The authors can then allow for the use of IP to third parties or licensed, but the rights remain with the owner. Even when only a small, but a distinctive portion of the original artwork, is used unauthorised or plagiarised, this can lead to a lawsuit, fine or imprisonment under the act of copyright infringement.

People get IPRs, so they can get a benefit or financial gain from IP, usually for a limited period.

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BIBLIOGRAPHY 16

NEVILLE BRODY IMAGES: Front Cover: n.d. Portrait Neville Brody. [image] Available at: <https://schoolworkhelper.net/neville-brody-biography-graphic-art/> [Accessed 12 October 2020].

Double-page Spread: Brody, N., 1976. Punk London. [image] Available at: <https://www.itsnicethat.com/news/neville-brody-typeface-logo-punk-london-190116> [Accessed 12 October 2020].

Brody, N., 1991. FUSE. [image] Available at: <https://typographica.org/typography-books/fuse-1-20/> [Accessed 12 October 2020].

Brody, N., 1992. FF Blur Font. [image] Available at: <https://www.behance.net/gallery/59817935/Blur-by-Neville-Brody-Spec-Sheet> [Accessed 12 October 2020].

Nike, 1988. Neville Brody - ‘Just Do It’. [image] Available at: <https://www.flickr.com/photos/66995307@N08/6097771109> [Accessed 1 October 2020].

DESIGNER: Dawood, S., 2016. Neville Brody: “Design Shouldn’t Have To Make Money - It Can Just Be Out There Doing Great Stuff” | Design Week. [online] Design Week. Available at: <https://www. designweek.co.uk/issues/4-april-10-april/neville-brody-design-shouldnt-have-to-make-money-it-can-just-be-out-there-doing-great-stuff/> [Accessed 1 October 2020].

FontShop. 1990. Neville Brody. [online] Available at: <https://www.fontshop.com/designers/neville-brody> [Accessed 1 October 2020].

Famous Graphic Designers. n.d. Neville Brody | Biography, Designs And Facts. [online] Available at: <https://www.famousgraphicdesigners.org/neville-brody> [Accessed 1 October 2020].

Johnsonbanks.co.uk. 2009. Neville Brody, Fifteen Years Later | Johnson Banks. [online] Available at: <https://www.johnsonbanks.co.uk/news/neville-brody-fifteen-years-later> [Accessed 1 October 2020].

A-Z Quotes. n.d. TOP 10 QUOTES BY NEVILLE BRODY | A-Z Quotes. [online] Available at: <https://www.azquotes.com/author/40514-Neville_Brody> [Accessed 12 October 2020].

COPYRIGHT:

Copyrightservice.co.uk. n.d. UK Copyright Law. Copyright, Designs And Patents Act 1988 :: The UK Copyright Service. [online] Available at: <https://copyrightservice.co.uk/copyright/uk_law_summary> [Accessed 2 October 2020].

Pinsentmasons.com. 2020. UK Copyright Law: The Basics. [online] Available at: <https://www.pinsentmasons.com/out-law/guides/copyright-law-the-basics> [Accessed 2 October 2020].

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ROSA SCHURIAN - STANZEL IMAGES: Front Cover: Hinundweg.jetzt. 2019. Hinundweg | Schurian-Stanzel, Rosa. [online] Available at: <http://www.hinundweg.jetzt/ereignisse/schurian-stanzel-rosa/> [Accessed 14 October 2020].

Double-page Spread: Schurian Stanzel, R., 2019. Hunter Performing #Gardenrosa June, 11Th 2018. [image] Available at: <https://www.instagram.com/p/BwJ6qlaj_E2/> [Accessed 24 September 2020].

Schurian Stanzel, R., 2020. Fret & fume like golden fire. May, 2020. [image] Available at: <https://www.instagram.com/p/https://www.instagram.com/p/CF7iFzoDIt5/> [Accessed 24 September 2020].

Schurian Stanzel, R., 2020. Anima Garden. Marrakech, Morocco. August, 2019.[image] Available at: <https://www.instagram.com/p/https://www.instagram.com/p/CErhzySjBpy/> [Accessed 24 September 2020].

Schurian Stanzel, R., 2019. Morning Illustration. [image] Available at: <https://www.instagram.com/p/https://www.instagram.com/p/BvMvAG0AWWP/> [Accessed 24 September 2020].

DESIGNER: At Home With Morley. 2020. Student Spotlight: Rosa Schurian-Stanzel - At Home With Morley. [online] Available at: <https://athome.morleycollege.ac.uk/2020/09/08/rosaschurianstanzel/> [Accessed 14 October 2020].

Hinundweg.jetzt. 2019. Hinundweg | Schurian-Stanzel, Rosa. [online] Available at: <http://www.hinundweg.jetzt/ereignisse/schurian-stanzel-rosa/> [Accessed 14 October 2020].

COPYRIGHT:

Kliemstein, S., 2016. URHEBERRECHT Versus COPYRIGHT - Mica - Music Austria. [online] mica - music austria. Available at: <https://www.musicaustria.at/urheberrecht-versus-copyright/> [Accessed 10 October 2020].

Justiz.gv.at. n.d. Urheberrecht. [online] Available at: <https://www.justiz.gv.at/home/service/die-justiz-von-a-bis-z/u/urheberrecht-~2c94848b4b92ce25014c314273ab1aca.de.html> [Accessed 14 October 2020].

Ris.bka.gv.at. n.d. RIS - Urheberrechtsgesetz - Bundesrecht Konsolidiert, Fassung Vom 14.10.2020. [online] Available at: <https://www.ris.bka.gv.at/GeltendeFassung. wxe?Abfrage=Bundesnormen&Gesetzesnummer=10001848> [Accessed 14 October 2020].

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STEPHEN HEFFERNAN IMAGES: Front Cover n.d. Stepheh Heffernan. [image] Available at: <https://icad.ie/upstart/stephen-heffernan/> [Accessed 30 June 2020].

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2020. Screenshot of Images from Instagram profile [image] Available at: <https://www.instagram.com/hephee/> [Accessed 30 June 2020] DESIGNER: Finnan, S., 2020. A Dublin Artist Has Created Charity Tees To Help Feed The Heroes. [online] LovinDublin.com. Available at: <https://lovindublin.com/lifestyle/ hephee-has-created-charity-tees-to-help-feedthe-heroes> [Accessed 30 June 2020].

Fitzmaurice, É., 2019. This Dublin Illustrator Creates Deadly Doodles & We Are Insta-Obsessed. [online] LovinDublin.com. Available at: <https://lovindublin. com/best-of/this-dublin-illustrator-creates-deadlydoodles-we-are-insta-obessed> [Accessed 30 June 2020].

Heffernan, S., 2020. Linkedin. [online] Stephen Heffernan. Available at: <https://ie.linkedin.com/in/stephen-heffernan-189b8873> [Accessed 30 June 2020].

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Heffernan, S., n.d. Stephen Heffernan. [online] Stephen Heffernan. Available at: <https://www.stephenheffernan.work/> [Accessed 30 June 2020].

Jameson Whiskey. 2020. Jameson Limited Edition Bottle 2020. [online] Available at: <https://www.jamesonwhiskey. com/en-EN/article/march-limited-edition-bottle-2020#:~:text=Created%20by%20our%20very%20own,Patrick’s%20 day.&text=Each%20icon%20on%20the%20label,day%20the%20world%20turns%20Irish.> [Accessed 30 June 2020].

O’Boyle, A., 2019. Creating Culture With Illustrator, Stephen Heffernan – The College View. [online] The College View.

Available at: <https://www.thecollegeview.com/2019/11/13/creating-culture-with-illustrator-stephen-heffernan/> [Accessed 30 June 2020].

The Side Project, 2019. The Side Project. #7 | Stephen “Hephee” Heffernan. [podcast] The Side Project. Available at: <https://www.headstuff.org/the-side-project/7-hephee-stephen-heffernan/> [Accessed 30 June 2020].

COPYRIGHT: Intellectual Property Office of Ireland. n.d. Copyright. [online] Available at: <https://www.ipoi.gov.ie/en/types-of-ip/copyright1/> [Accessed 1 July 2020].

Intellectual Property Office of Ireland. n.d. Designs. [online] Available at: <https://www.ipoi.gov.ie/en/types-of-ip/designs/> [Accessed 1 July 2020].

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Society, D., n.d. DACS - Knowledge Base - Frequently Asked Questions. [online] Dacs.org.uk. Available at: <https://www.dacs.org.uk/knowledge-base/frequently-asked-questions#FAQ145> [Accessed 1 July 2020].

Society, D., n.d. DACS - Knowledge Base - Factsheets - Exceptions. [online] Dacs.org.uk. Available at: <https://www.dacs.org.uk/knowledge-base/factsheets/exceptions-and-limitations#cdpa> [Accessed 1 July 2020].

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