Choice Cuts
Prime Packaging “Easy Peasy” Baby Feeder Registered design, Patent pending Winner of Commendation at 2007 Packaging Council Awards
Prime Packaging “Chop Chop” Fresh Herbs Noodle box redesign, two colour
Corporate Cutlets Identities for The Denture Adventurer ( Mobile Brisbane dental prosthetist), Mytrek (Melbourne public transport journey planning system / university project), Don’tcrybaby. com (Victorian Government post natal depression support website / university project), Share Shed (Melbourne City Council community lending initiative / university project)
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Print Loins The Party Line E.P Album Artwork
PARTY LINE
THE PARTY LINE
Rags The Art of Unnecessary Complication Patty Lee Peligro! Big Mouth Creepers
Print Loins Tuxedo “Flesh” Promotional poster, album artwork
Print Loins “The Italian Futurist Book” Magazine layout Double page spread
uturism (1909-1944) was perhaps the first movement in the history of art to be engineered and managed like a business. Since its beginning, Futurism was very close to the world of advertising and, like a business, promoted its product to a wide audience. For this reason, Futurism introduced the use of the manifesto as a public means to advertise its artistic philosophy, and also as a polemic weapon against the academic and conservative world. The poet F.T. Marinetti, founder of the movement, wrote in his first manifesto of February 1909, “Up to now, literature has exalted a pensive immobility, ecstasy, and sleep. We intend to exalt aggressive action, a feverish insomnia, the racer’s stride, the mortal leap, the punch and the slap. We affirm that the world’s magnificence has been enriched by a new beauty: the beauty of speed. . . We will destroy the museums, libraries, academies of every kind, will fight moralism, feminism, every opportunistic or utilitarian cowardice.” Futurism, as opposed to Cubism, an essentially visual movement, found its roots in poetry and in a whole renovation of language, and featured the concept of the New Typography. Since 1905, Marinetti had promoted from the pages of his magazine Poesia (Poetry) the idea of verso libero (free-verse), which was intended to break the Marinetti’s theories, on the other hand, thanks to the wide circulation of his manifestos, were widely circulated since 1912 and influenced the work of hundreds of writers and poets throughout Europe, including Guillaume Apollinare (in his early calligrammes, like Lettre-Ocean), Blaise Cendrars, Reverdy, etc. In The Destruction of Syntax manifesto, Marinetti wrote:
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Futurist books led to the future (hence the name of the movement), functioning as emblems of technical and cultural progress, and using all possible media of serial production in the mechanic age.
Marinetti’s theory of “words-in-freedom” was central for the renewal of typography in this century, and his book Zang Tumb Tumb (1914), with its explosive layout, is undoubtedly a masterpiece in this field. Even El Lissitzky, in his writings on new typography, quoted Marinetti’s theories as a starting point for everyone involved in experimental and modernist book-making. For the Futurists, book-making was in fact the result of a precise theory to adhere to when conceiving their books. Futurist books led to the future (hence the name of the movement), functioning as emblems of technical and cultural progress, and using all possible media of serial production in the mechanic age. Thus, mass production and distribution was vital to the spread of their works, as well as to the Futurist philosophy itself. “We stand,” proclaimed Marinetti, “on the last promontory of the centuries! Why should we look back to the past?” During the same years Italian Futurism was flourishing, the Russian Futurists were also devoted to a wide experimental movement in book-making that was inspired by a very different ideology. The Russians’ philosophy considered books to be works of art, and often featured original illustrations or unique, hand-made covers, and were printed in very limited editions. This approach was not the result of a specific philosophy of typography (as was Marinetti’s) but rather the consequence of the philosophy from which the Russian avant-garde was born. This ideology was characterized by the revival of Russian cultural heritage (for example, the re-evaluation of the lubok (devotional folk painting) as a mystical image linking them to their roots), and a state of closure toward the West, which was seen as potentially threatening to their old traditions.
Depero the Futurist 1913
FT Marienetti, Parole in Liberta`
Marinetti’s theories were widely influential and resulted in the production of hundreds of books by many Futurists. The books were often characterized by nearly anonymous covers with explosive inner pages where often traditional typefaces were eschewed in favor of newly designed typefaces that spread over the pages without any respect to the rules of layout. These new “alphabets” were designed in order to express different stati d’animo (states of mind), and often were put together to form various and odd shapes; suddenly, word became image. A perfect example of this movement is Francesco Cangiullo’s book Caffè-Concerto - Alfabeto a sorpresa (Café-Chantant - Surprising Alphabet), completed in 1916, but printed after the war in 1919). Cangiullo uses words in different typefaces to form images of scenery, landscapes, and even human bodies.
was central for the renewal of typography in this century...
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Marinetti Zang Tumb Tumb 1914
“I initiate a typographical revolution aimed at the bestial, nauseating idea of the book of passéist and D’Annunzian verse, on seventeenth Century handmade paper bordered with helmets, Minervas, Apollos, elaborate red initials, vegetables, mythological missal ribbons, epigraphs, and roman numerals. The book must be the Futurist expression of our Futurist thought. My revolution is aimed at the so-called typographical harmony of the page, which is contrary to the flux and reflux, the leaps and bursts of style that run through the page. On the same page, therefore, we will use three or four colors of ink, or even twenty different typefaces if necessary. For example: italics for a series of similar or swift sensations, boldface for violent onomatopoeias, and so on. With this typographical revolution and this multicolored variety in the letters I mean to redouble the expressive force of words.”
Depero the Futurist
Futurism’s new direction of emphasizing the “mechanic age” gave new energy to the movement.
FT Marienetti, Parole in Liberta`
During the 1910s, Futurist book-making was devoted mainly to such typographic experiments in “words-in-freedom” which were finally summarized in the book Les mots en liberté futuristes (The Futurist Words-In-Freedom) by Marinetti in 1919. In the 1920s, Futurism’s new direction of emphasizing the “mechanic age” gave new energy to the movement. The masterpiece of this decade is surely the famous bolted book, created by Fortunato Depero in 1927. But if the binding itself was a real mechanic manifesto, the layout was a revolution in book-making. The multicolored text is printed on different kinds of paper, in typefaces of varying shapes and sizes that give life to vibrant geometric shapes. The book has neither up nor down, right nor left; not one but many virtual layouts, so that in order to read the text, the book has to be turned round and round again. Finally, in the early 1930s, Marinetti published another famous book, Parole in Libertà Futuriste, olfattive, tattili, termiche (The Words-in-freedom, Futurist, Olfactive, Tactilist, Thermal) that was printed by a lithographic process in many colors on metal sheets, and with a metal binding. With this metal book (followed in 1934 by another one with illustrations by Bruno Munari, L’anguria lirica (Lyric Cucumber), the Futurist experiments on bookmaking reached their highest point and ideally closed the circle of over 25 years of literary, poetic and typographic innovations.
Print Loins “A Night at Honkey Tonk’s or the Compendium of Modern Etiquette” 20 page book
Print Loins “X-rays- Seeing is Believing” Museum Victoria Teachers Program Promotional pack
Print Loins Homophobia, It’s UnAustralian Campaign Poster Series Featured in Victorian Goverment “Same Difference” Exhibition 2006
Art Shanks “Like A Bat Outta Hell” Pencil on photograph
Art Shanks “Revolution: You’ve Come a Long Way Baby” Acrylic on canvas
Art Shanks “Wolf Call” Flash Animation, 1:15 min
Spare Ribs Photo Retouching Images for The Kuwait Science Center “Cultural� program interactive kiosks
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Spare Ribs Copy Writing “Chop Chop” Fresh Herbs Branding and Identity
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King Pin Basil is the don of all herbs. Why? Basil’s name actually means King. Don’t be a wise guy and be sure to add it to cooking at the last minute or torn up as a garnish. Say hello to basil’s little friends pasta, risotto and everything Italian. The King Pin also favours Asian cuisines.
Viva La King Pin To keep the King Pin happy and preserve the mob, keep in warm sunny conditions and water daily, otherwise you’ll regret it…
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Embezzle Mint starts with greed, greed for flavour. This little nest egg is the perfect accompaniment to lamb, South-East Asian foods, and sweets. It also likes to cool down in a Mojito.
Watch your Embezzle Mint flourish… in cool, moist spots in partial shade. Generally, it will tolerate a wide range of conditions, and can also be grown in full sun.
Design Work
Graphic Designer/Production Assistant, Magian Design Studio, July 2009- February 2010.
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Magian Design studio is a Multimedia studio that specialises in interactive technology for cultural institutions. “Our commitment is to creative excellence, working with interactive multimedia, on-line media, software development, video, audio and soundscapes, print graphics and exhibit design.” Whist at Magian, I worked on an incredibly varied portfolio of work for clients such as; • The Science Center, Kuwait • The Museum of Australian Democracy, Canberra • Hot Science at Petrosains, Petronas Towers, Malaysia • Memphis Zoo, U.S
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Museum of Australian Democracy • Assistance with functional diagrams explaining harware set up for the client
Pitches and Competitions • • • • •
Client Work
The Science Centre Kuwait “Species Id”, “General”, “Fly Over Kuwait”, “Cultural”, “Sharks” and “Fossil” Programs •
Sourcing, editing, uploading and assigning images and other content to programs within interactive kiosks • Production of “Inside Sharks” and “What are teeth for” graphics (an interactive educational program about sharks) • Image sourcing/editing, production and building of all flash activities in both species ID and Fossil 2 program kiosks (122 different species and fossils) • Production for activities/species allocations • Creation of visual documentation to be included in programming documents for client to explain Kiosk programs • Comprehensive testing of programs and fixing of content based ‘bugs” • Archiving of program visuals for Magain project database Memphis Zoo Bridger Teton National Park Program “Forests are Important” and “Forester For a Day” Programs • Graphics production- sourcing of images from web and image databases, creating and editing of images for programs • Video editing for “Forests Are Important” program using TMPGEnc 4.0 xpress • Comprehensive testing of programs and fixing of content based “bugs” • Archiving of program visuals for Magain project database
Curriculum Vitae
Petrosains Hot Science Exhibit “Cool Tech”, “Voting Stations”, “Future Energy”, “Science Presentations”, “Science Briefs”, “Opinion Stations” Programs
Sourcing, editing and building of all visual content for “Future Energy” program Editing of visual content for all other programs Compilation of programming documents for delivery to client on completion of Kiosk programs and instillation Comprehensive testing of programs and fixing of content based “bugs” Archiving of program visuals for Magain project database
Aquario de Genova, Italy Eco Park, Brazil Sheik Zayed Desert Learning Center, Saudi Arabia Liverpool Museum, U.K 2010 AAM Muse Awards, U.S
The majority of my work for pitches and competitions included; • Editing and sourcing of visual content • Image and content allocation • Building of Flash based image grids that showcase Magian’s work • Editing of text based content in Magian’s online content management system “MMaps” • Editing of nodes and node structures within programs and for Magian’s generic USB program for prospective clients • Comprehensive testing of programs and fixing of content based “bugs” • Archiving of program visuals for Magain project database
Clerical/ Production • • •
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Use of Adobe CS4, Camtaisia and Snaggit and MS Office Completion of daily progress reports for review of time allocation Daily use of MMaps media management system to manage content to be delivered to client kiosks on site (reordering nodes, changing structure applying templates, images and text, enabling/disabling viewing properties) Use of Xcel to organize and manage production and allocation of visual content
Whilst Magian is a small company, its long history of international clients made it a dynamic place to work. Their commitment to evolve with new technology, kept the technological aspects of the company fresh and exciting. It was great to work with in a company that required flexibility in my role, whilst also working at a fast pace.
Freelance Work Agent’s Sales Report design and formatting for Fraser Cahill of Thomson Real Estste April 2010 Identity for Action Mouthguards, Brisbane based custom mouthguards company July 2008 Identity and poster for the Denture Adventurer, a Brisbane based mobile dental prosthetist July 2008 Promotional Badges for Brisbane artist Edward Guglielmino June 2008 Identity for Go Ganics, Brisbane Organics Company December 2005
Awards and Achievements Bachelor of Communication Design, Swinburne University, 2008 Inducted in to Golden Key International Honour Society for academic excellence, 2008 Commendation at the 2007 Southern Cross Packaging Council Awards for “Easy Peasy”. Work exhibited in the Victorian Government “Same difference exhibition”, 2006v Suntory Cup state champion for South East Queensland, 2005 42 Below Vodka cocktail champion for Queensland, 2004 Diploma of Communication Design, Queensland Institute of Business and Technology, 2003
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References will be provided upon request
Thank you Annaliese Redlich annaliese@redli.ch +61 413 807 926