Page 1

Marks

/ PAULINA MCFARL AND


// Each Warrior wants to leave the mark of his will, his signature on important acts he touches. This is not the voice of ego but of the human spirit, rising up and declaring that it has something to contribute to the solution of the hardest problems, no matter how vexing. // - Pat Riley


Contents FINDING HARMONY

RE-MIXED MEDIA

/7

/ 121

MINIMAL ANIMAL

CLEANEST ENERGY

/ 31

/ 141

UNIVERS IN A BOX

POP ART ACTIVISM

/ 51

/ 155

ERATH ART

MASTER’S THESIS

/ 59

/ 167

SURREAL LANDSCAPES / 67 NEW YORK CHIC / 97


01

Finding Harmony PROJECT / harmony korine film FESTIVAL COURSE / Nature of Identity INSTRUCTOR / Hunter Wimmer


PROJECT / HARMONY KORINE FILM FESTIVAL

FINDING HARMONY

2009

P

ID

Overview The End is Nowhere: Harmony Korine Film Festival was inspired by the Dogme 95 filmmaking movement started in 1995 by the Danish directors Lars von Trier and Thomas Vinterberg, who created the Dogme 95 Manifesto. The basic principles of the movement were a return to a more ‘pure’ and low budget film-making with materials available on the spot and a semidocumentary, intimate style without special effects or even studio settings. Process I wanted to take on the movie project in the same way in which Korine had approached the making of the film — from a totally conceptual, raw and uninhibited place. My challenge in designing the aesthetic of the film festival was to create the same cinematic intensity, illusion of movement and anxiety which is so often present in the films of Dogme 95 filmmakers. In the end I chose to work with grey industrial felt and constructed all CD/DVD and collateral cases by sewing the fabric. I chose three colors for the three different movies I had worked with: white (Gummo), red (Julien Donkey Boy), blue (Mister Lonely) and used the colors throughout the project with designs for tickets, CD’s, and the catalog. The latter was a 400 page collection of movie stills, personal photographs (taken around San Francisco at garbage dumps and on rooftops) and light effects. The move campaign involved mainly a series of guerilla tags around the city. The project was encased in an old beaten up metal box, spray painted with festival’s logo. Result Festival collateral included a set of CD’s, posters, tickets, schedule and a catalog.

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PROJECT / HARMONY KORINE FILM FESTIVAL

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PRO JE C T 0 1 / PRO CE S S

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PROJECT / HARMONY KORINE FILM FESTIVAL

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PRO JE C T 0 1 / F E S T I VA L D V D ’ S

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PROJECT / HARMONY KORINE FILM FESTIVAL

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PRO JE C T 0 1 / F E S T I VA L PO S T E R S

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PROJECT / HARMONY KORINE FILM FESTIVAL

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PROJECT / HARMONY KORINE FILM FESTIVAL

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PROJECT / HARMONY KORINE FILM FESTIVAL

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PROJECT / HARMONY KORINE FILM FESTIVAL

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PROJECT / HARMONY KORINE FILM FESTIVAL

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PROJECT / HARMONY KORINE FILM FESTIVAL

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PRO JE C T 0 1 / F E S T I VA L A D V E R T I S ING AT MOM A

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PROJECT / HARMONY KORINE FILM FESTIVAL

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RESHOOT

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Minimal Animal PROJECT / CONSTRAINT MAGAZINE COURSE / PUBLICATION NARRATIVES INSTRUCTOR / MICHAEL SAINATO


PROJECT / CONSTRAINT MAGAZINE

DESIGNING WITH RESTRICTIONS

2009 Overview The concept for Constraint Magazine was a set of self-assigned constraints such as size, color and theme. I set out to make a hard cover magazine, with minimal use of color and with the subject matter which embraced various restrictions. Process The most interesting part of the magazine was the fashion shoot where a set of four outfits were all designed, cut, and put together in under half an hour and under ten dollars. The concept was to use only materials found around at the time of the photo shoot. In the spirit of constraint I was forced to use tape, glue, and staples to keep the outfits together. For jewelry I used phone cables and pieces of felt and made dresses with cut up T-shirts while deconstructing and reconstructing garments on the spot. Result Issue One covered subjects ranging from a impromptu time and money restrained fashion shoot to an article about constraint of mental illness in the art of Yayoi Kusama. The cover was white and the publication was delivered to a subscriber in a reflective mailer. The design was simple and effective, the magazine combined aspects of fashion, lifestyle and art in a minimalist context.

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PROJECT / CONSTRAINT MAGAZINE

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PRO JE C T 0 2 / M A G AZINE O PENE R

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PROJECT / CONSTRAINT MAGAZINE

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PROJECT / CONSTRAINT MAGAZINE

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PROJECT / CONSTRAINT MAGAZINE

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PROJECT / CONSTRAINT MAGAZINE

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PROJECT / CONSTRAINT MAGAZINE

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PROJECT / CONSTRAINT MAGAZINE

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PROJECT / CONSTRAINT MAGAZINE

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Univers in a Box PROJECT / Univers FONT STUDY COURSE / TYPOGRAPHY || INSTRUCTOR / JENNIFER STERLING


PROJECT / UNIVERS FONT STUDY

EXPERIMENTS IN TYPE

2009 Overview Type experimental box was the outcome of a principles of typography class which focused on teaching us typographic standards in order to understand anatomy of type and its proper uses. Process We practiced by copying work of famous typographers such as Wolfgang Weingart and later on in the course experimenting with various typographic compositions. Result The outcome of the class was a box set of experimental pages with a variety of type exercises. I chose to work with Univers family for its simplicity and utilitarian character.

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PROJECT / UNIVERS FONT STUDY

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PROJECT / UNIVERS FONT STUDY

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PRO JE C T 0 3 / UNI V E R S EXPE RIMEN TA L PA GE S

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Erath Art PROJECT / ERATH LABEL REDESIGN CLIENT / ERAtH WINES INSTRUCTOR / SELF INSTRUCTED


PROJECT / ERATH LABEL REDESIGN

ENVISIONING GREAT WINE

2010 Overview Erath is a vineyard located in Oregon which has been producing some of the most interesting and complex reds. I wanted to capture the idea of earthiness and ageing. Process I thought of shrubbery, and things you can find on the ground, something that soaks up the flavor of the surroundings as much as the grapes do. I went scavenging in the Oakland hills and around Half Moon Bay and was inspired by found twig shapes and dried up flowers especially by their earthy coarseness which is very present in the wine. Result Seven wine labels which give the wine a classic look and nature inspired look.

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PROJECT / ERATH LABEL REDESIGN

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PROJECT / ERATH LABEL REDESIGN

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PROJECT / ERATH WINE LABEL DESIGN

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Surreal Landscapes PROJECT / BEHIND THE SECRET DOOR FILM FESTIVAL COURSE / NATURE OF IDENTITY INSTRUCTOR / SELF INSTRUCTED


PROJECT / SVANKMAJER/QUAY FILM FESTIVAL

CONSTRUCTING ENVIRONMENTS

2010

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ID

Overview Behind the Secret Door is a film festival featuring my two favorite film directors Jan Švankmajer and Timothy and Stephen Quay. Having grown up in Poland in the 80’s, I had watched a lot of claymation from Chechoslovakia (now Chech Republic) and from my own country. I fell in love with the genre early on and proceeded to make my own small scale environments. This early practice of building various sets inspired me to try this process on a larger scale and to translate it from sculpture to print. Process I watched all of the available movies by Jan Švankmajer and the Quays and studied the atmosphere and aesthetics of the more relevant works. I found old dolls, broken toy parts and cool tones more suitable for the Quay brothers catalog. Jan Švankmajer produced his works in the 70’s and 80’s combining his animation with living actors so I chose aged color tone and more organic materials. I entitled the event Behind The Secret Door since both directors present us with magical and surreal worlds that seem hidden away from our common reality. Result I centered the festival around the idea of secrecy. With every pass, the audience received an antique key as a keepsake. It served as the invitation to open the mysteries of the event. The collateral produced involved two catalogues, a poster, set of DVD’s and records, identity, postcards and tickets.

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PROJECT / SVANKMAJER/QUAY FILM FESTIVAL

Process I created several characters and photographed them to be used in a catalog, postcards and advertising materials. They were made from simple found objects like roots, pieces of cloth and small metal parts. With the right background and lighting, they became animated and turned into small characters with eyes and hands. The pictures above show the rough parts. I also shot a lot of close-ups of natural objects (following pages) such as burned wood and seaweed to add a variety and texture to the catalog.

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PRO JE C T 0 5 / BUIL DING EN V IRONMEN T S

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PROJECT / SVANKMAJER/QUAY FILM FESTIVAL

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PROJECT / SVANKMAJER/QUAY FILM FESTIVAL

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PRO JE C T 0 5 / F E S T I VA L T ICKE T S

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PROJECT / SVANKMAJER/QUAY FILM FESTIVAL

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PRO JE C T 0 5 / BU S INE S S C A RD S

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PROJECT / SVANKMAJER/QUAY FILM FESTIVAL

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PRO JE C T 0 5 / PO S T E R

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PROJECT / SVANKMAJER/QUAY FILM FESTIVAL

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PRO JE C T 0 5 / V IN Y L RE C O RD S

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PROJECT / SVANKMAJER/QUAY FILM FESTIVAL

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PRO JE C T 0 5 / C ATA L O G O PENE R

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PROJECT / SVANKMAJER/QUAY FILM FESTIVAL

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PRO JE C T 0 5 / C ATA L O G S PRE A D S

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PROJECT / SVANKMAJER/QUAY FILM FESTIVAL

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PRO JE C T 0 5 / C ATA L O G S PRE A D S

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PROJECT / SVANKMAJER/QUAY FILM FESTIVAL

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PRO JE C T 0 5 / C ATA L O G S PRE A D S

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PROJECT / SVANKMAJER/QUAY FILM FESTIVAL

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PROJECT / SVANKMAJER/QUAY FILM FESTIVAL

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PRO JE C T 0 5 / C ATA L O G S PRE A D S

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PROJECT / SVANKMAJER/QUAY FILM FESTIVAL

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New York Chic PROJECT / CHIC JEANS REBRANDING CAMPAIGN COURSE / BRANDING STRATEGIES INSTRUCTOR / HUNTER WIMMER


PROJECT / CHIC JEANS REBRANDING CAMPAIGN

ENVISIONING A PEOPLE CENTERED BRAND

2009

P

ID

Overview The goal of this project was to modernize an old and forgotten brand. I chose Chic Jeans, a ‘soccer mom’ Walmart brand. I set out to not only change the look of the brand, but to revamp the practices of the company and transform it into a model manufacturer: worker conscious with high worker retention, environmentally sound and essentially a big brand that behaved like a mom and pop shop. I wanted to appeal to the younger demographic and average middle class people who wanted to feel good about their purchasing choices. Process Since the brand was born in New York, I decided to involve the city and its history as the hub of its branding campaign. New Yorkers have a lot of pride and are familiar with the many vibrant cultures they are surrounded by. The quality of jeans was solid —‘Made in USA’ with best practices and best materials— but I was more focused on creating a community around the brand and the company. I wanted a clear message: Chic is New York. I set out to create a campaign by using the values and qualities consumers not only cared about but already possessed– it was a clothing label that identified with the culture of the city. Result An 180 page full color, perfect bound book with brand standards and company practices guide.

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PRO JE C T 0 6 / IN T RO D UC T ION

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PROJECT / CHIC JEANS REBRANDING CAMPAIGN

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PRO JE C T 0 6 / A D V E R T I S ING

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PRO JE C T 0 6 / C ATA L O G O PENE R

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PROJECT / CHIC JEANS REBRANDING CAMPAIGN

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PRO JE C T 0 6 / S T O RE PRE S ENCE

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PROJECT / CHIC JEANS REBRANDING CAMPAIGN

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PRO JE C T 0 6 / C ATA L O G A ND PRO D UC T S

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PROJECT / CHIC JEANS REBRANDING CAMPAIGN

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PRO JE C T 0 6 / E C O F URNI T URE

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PRO JE C T 0 6 / C ATA L O G A ND PRO D UC T S

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PROJECT / CHIC JEANS REBRANDING CAMPAIGN

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PROJECT / CHIC JEANS REBRANDING CAMPAIGN

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PRO JE C T 0 6 / C ATA L O G S PRE A D S

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PROJECT / CHIC JEANS REBRANDING CAMPAIGN

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PRO JE C T 0 6 / C ATA L O G A ND PRO D UC T S

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Re-Mixed Media PROJECT / AUDIOTYPE MUSIC FESTIVAL COURSE / EXPERIMENTAL TYPOGRAPHY |||/|V INSTRUCTOR / ARIEL GREY


PROJECT / AUDIOTYPE CONFERENCE DESIGN

MIXING MUSIC WITH TYPE

2010

P

Overview Audiotype is a San Francisco based conference which combines typography and sound. Music and typography are somewhat parallel art forms with similar formal elements such as rhythm and typographic color, pitch and font character, negative space and silence. I focused on electronic music since it is often both mathematical and organic, and has more apparent layers and rhythm than rock or jazz which can be more freestyle and difficult to deconstruct. Process I wanted to base the rhythm of my typographic explorations and my layout on actual musical compositions. I went on a steady electronic diet, and in the meantime saw one of my favorite instrumental / electronic bands play in the area. I took the show as an opportunity to shoot a few hundred photos and use them for the Audiotype catalog. I settled on Vitesse Sans as my primary body copy, and used a variety of bitmap fonts in combination with some script fonts like Snell Roundhand. It was a great exercise in mixing and deconstructing type as well as building layered compositions with it. Result Audiotype collateral consisted of a takeaway catalog, CD, poster, conference schedule and a set of passes. It was driven by typographic experimentation with the use of ‘fresh’ ambient colors in combination with black and white photography.

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PRO JE C T 0 7 / IN T RO D UC T ION

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PROJECT / AUDIOTYPE CONFERENCE DESIGN

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PRO JE C T 0 7 / E V EN T B A D GE S

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PROJECT / AUDIOTYPE CONFERENCE DESIGN

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PRO JE C T 0 7 / CD D E S IGN

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PROJECT / AUDIOTYPE CONFERENCE DESIGN

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PRO JE C T 0 7 / E V EN T PO S T E R S

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PROJECT / AUDIOTYPE CONFERENCE DESIGN

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PRO JE C T 0 7 / E V EN T C ATA L O G

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PROJECT / AUDIOTYPE CONFERENCE DESIGN

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PRO JE C T 0 7 / C ATA L O G S PRE A D S

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PROJECT / AUDIOTYPE CONFERENCE DESIGN

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PROJECT / AUDIOTYPE CONFERENCE DESIGN

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PROJECT / AUDIOTYPE CONFERENCE DESIGN

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THESIS / ARTIST ’S PUBLIC NETWORK

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Cleanest Energy PROJECT / Firefly COURSE / DESIGN SUSTAINABILITY INSTRUCTOR / PHIL HAMLET T

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PRO JE C T 9

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PROJECT / FIREFLY

FRIENDLY COMPETITION POWERS OUR CITY

2011

ID

Overview Firefy Project was conducted in collaboration with Good magazine. The scope of this team effort was to imagine an alternative way of harvesting our energy. Our objective was to reform not only harmful issues like coal extraction or importing Bay Area energy from out of state, but to go a step further and imagine a truly revolutionary way of generating electricity and getting rid of the power grid throughout the country. Process We conducted research where we looked at various innovations in energy harvesting such as solar power and wind energy. What caught our attention were several cutting edge, small scale technologies involving piezoelectric power. Our team set out to re-imagine this self-sustaining process of harnessing electricity on a city and nationwide scale. We studied the way energy is obtained and distributed and came up with a locally powered city where its inhabitants generated their own electricity through a program called FireflyTM. This futuristic company developed a device which served as a kinetic energy harvester and the citizens participating in the project could measure how much energy they produced and consumed and use it to power their homes. Community is a strong component of this project, where people in the city organize friendly energy harvesting events like marathons and outdoor games and connect online on a social network website where they can record their accomplishments and interact with other members. Results The result is a city wide system of harvesting energy locally with emphasis on movement, health activities and fun. The deliverables: a website, an app, an electronic device called Firefly TM , a set of advertisements and calls to action.

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PROJECT / FIREFLY

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PRO JE C T 0 8 / F IRE F LY

TM

D E V ICE

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PROJECT / FIREFLY

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PRO JE C T 0 8 / F IRE F LY

TM

A PP

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PROJECT / FIREFLY

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PRO JE C T 0 8 / F IRE F LY

TM

W EB S I T E

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PROJECT / FIREFLY

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PRO JE C T 0 8 / F IRE F LY

TM

W EB S I T E

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PROJECT / FIREFLY

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PRO JE C T 0 8 / F IRE F LY

TM

PO S T E R S

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Pop Art Activism PROJECT / Art XX MAGAZINE COURSE / SELF-DIRECTED


PROJECT / ART XX MAGAZINE

ART XX MAGAZINE

2008-2010 Overview Art XX Magazine was a short lived publication I founded during my school years in the Summer of 2008. It focused on marginalized artists and DIY culture and presented intellectually challenging and political content. Process A lot of mainstream art magazines lacked content by up and coming artists and did not include creative writing and political as well as social analysis along with visual art. I wanted to find something in an art magazine that would jarr me visually, engage me intellectually and talk about art from the perspective of being an artist. We found it necessary to fill this gap in San Francisco. The three person staff became a small publishing house, handling the project from start to finish with the aid of many good friends and volunteers who helped organize fundraisers and coordinate various events. I was responsible for art direction, design and delivery to print, however we all had creative and curatorial input. In 2009 we formed a 501c(3) organization, which is still active within the San Francisco art world. We often organize cultural events such as talks at libraries, independent media events and gallery shows which brings attention to art communities marginalized on the basis of their race, gender or politics. Result 80 page glossy art magazine, which still exists as Aorta Magazine and artist collective active in the San Francisco visual and performing arts community.

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Master’s Thesis PROJECT / ARTISTS PUBLIC NETWORK COURSE / MASTER’S THESIS ADVISORS / MICHAEL KILGORE BRAD R–––HODES

Image courtesy of Shawn Tamaribuchi.


THESIS / ARTIST ’S PUBLIC NETWORK

A NECESSARY INTERVENTION

2010-2011

P

ID

Overview Since the demise of Art XX Magazine in 2009, I have been planning another publication with a slightly different focus. With my thesis project I am planning to create a center of economic support for artists in the Bay Area. The project is comprised of three components: access, visibility and awareness. It serves to provide artists with resources, exposure and brings to light pressing issues artists deal with such as lack of health insurance, steady employment or covering costs of exhibiting at private galleries. Process A big part of this project consists of conducting research about various issues which concern artists and making resources available to the public. The design of the posters for the campaign is a collaboration of my illustrations and those of Hanna Gustavson. The process of building the content for the magazine involved interviewing artists and members of Beehive Collective, W.A.G.E and Recology Center to name a few. Result The project consists of a print magazine which serves as the visibility component; a website which promotes the magazine but also serves as a center for resources; a series of artist guides to help artists succeed in the beginning stages of their careers and an awareness campaign where artists can put their perspective into the world. The last component is designed to bring artists closer to the audience and take the art out of the galleries and into the streets. This organization’s goal is to help artists survive tough economic times and influence the public to invest in art locally and even shift their way of thinking on the role of artists in society.

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Taking it to the streets The purpose of the campaign is to bring attention to the difficulties facing the artists in this economy. It is a message from the art community to non-artists to ask for involvement, to educate, to demystify the persona of the artists and all of the wrong assumptions that may go with it, and finally to bring art to everyday spaces. The awareness of the public is the most important aspect of the campaign. For many years now artists operate as independent cultural workers, which puts them in control of their labor, and therefore places them in the middle-class economic brackett. Artists are also one of the most educated worker groups, but the scarcity of government sponsored jobs, the random trends and exclusive nature of the art market create a situation where average artists have difficulty competing for resources. Artist’s income is closer to the working poor than their class status, however their expenses exceed what others typically spend on necessities. The added on expenses involve maintenance of a studio space, art supplies which are expensive, costs of participating in art shows, self promotion – all on top of expenses tied to maintaining a household. The public often regards art as a hobby not as a viable career and many Americans are simply not in the habit of buying art or going to galleries regularly and supporting arts organizations. The government is also hostile by slashing art education budget every time the economy is in crisis. All of these issues take a toll on artist’s health and financial success when average artists live in prolonged poverty and seldom achieve economic security.

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Drawings by Hannah Gustafson

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Academy of Art University / School of Graphic Design Paulina McFarland 510.542.7234 paulina@pmdesign.com Instructor / Mary Scott Printing/ Giant Horse Printing 1336 San Mateo Avenue South San Francisco, CA 94080 Bookbindery / The Key Tel: 510.595.3311 Oakland, CA Photography / Paulina McFarland Cover Stock / Arrestox Pewter, Davey Binder’s Board Fonts / Tesca Flaca / Gorda / Normal Linotype Univers Condensed Light / Italic / Bold Software / Adobe Creative Suite 5

Acknowledgements To my family for helping me out with kind and loving words. To my Academy professors Phil Hamlett, Michael Kilgore, Mary Scott and Hunter Wimmer for being both demanding and kind and keeping us motivated in our darkest hours. To the Aorta Collective for having the best of politics and for always keeping things going. To my wonderful friends for being my solid foundation. Thank You!

Š2011 All rights reserved. No part of this publication can be reproduced without express permission from Paulina McFarland.

mfa portfolio book  

A book of design by Paulina McFarland. Academy of Art University, San Francisco, 2011.

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