H.
Welcome This is my folio, my name is Marie-Helene but everyone calls me Helene or H. I am originaly french, but after living in many countries, it is Australia that I call home. I studied at RMIT in Melbourne and at the SC tafe on the Sunshine Coast. I recently moved up from Torquay to enjoy some sunshine and some good surf. I must confess I am a bit of a sports addict. Anyway lets not blabber on, this is my folio, enjoy the tour.
H.
Begin
Contact
VSA
BRIEF The Victorian government, is redesigning the campaign for the VSA (governmental agency for the Victims of Crime) create an Avant Card, a pocket size booklet and a campaign to appeal to the younger generation and to get them to call the help line.
LUSH PRODUCTION This consultancy like brief was to come up with new concepts regarding the illustrations that were to be used on the 2012 summer women’s range. These designs represent 2 different concepts, the urban Zoo York and the statue of liberty (manufactured in France) with a reference to the American Indians (so present in fashion at the moment). The second one bears a reference to Mexico, and partying.
SUKU
SUKU MENTAWAI Is an non for profit organisation that is focusing on the survival of the Mentawai culture and the education of the young Mentawai men, women and children. The association was in need of a booklet designed to be printed and distributed to possible contributors and to explain the situation the new generation faces. It had to be clean, highly legible and uses the Mentawai traditional colours. Photography and words by Rob Henry and Matt Hannon. You can find the full mag here : http://issuu.com/helenebarbe/docs/suku_mentawai-_csp www.sukumentawai.org
QUIKSILVER I have had the amazing opportunity to have some time working at Quiksilver in Torquay alongside Tom Purbrick Meg Palmer and Aiden Davis in the boardshort department in 2012. Those 2 funky boardies are the result of a paint based treatment of simple shapes and the Quiksilver logo.
MOOCH MOOCH BEIGHTON Photoshoot for sponsored athlete Mooch Beighton with the Freshco Family in Cairns on a mango farm. Mooch dropped down into a 15m long 8m high half pipe that was ready to fall apart made of wood and card board. Radest thing!
LA BECKY
MAG
December 2012
Issue N. 30
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BRIEF This typography brief was asking for us to create a magazine of the Type Directors Club, photography were sourced and articles were provided. We never the less had to do the type setting, and use the data given to generate diagrams in illustrator. The masthead had to be designed with some connotation to typography and the subscription form to be made using Idd.
Magazine of the Type Directors Club
U G LY
You can find the full mag here : http://issuu.com/helenebarbe/docs/phorm_mag_bhelenedesign
CU LT OF T H E
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000000 000000 AUS 11.95 inc GST NZ 12.95 inc GST
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Output is eight unbound pages of blips, type fragments, towards new discoveries. Experimentations is the engine of random words, and other graphicbyminutiae purposefully given progress, its fuel a mixture of instinct, intelligence or discipline Steven Heller the serendipitous look ofthataitprinter’s The lack is in the mix. This is the case with certain of the graphic design ‘Ask a toad what is beauty… He will answer is a female with twomakeready. great round eyes coming out of her little head, aof largeany flat mouth, a yellow belly and a brown back.’ (Voltaire, Philosophical Dictionary, 1794). Ask Paul Rand what is beauty and he will answer that ‘the separation of form explanatory précis (and only endof aesthetical note:value.’ ‘Upcoming Issues that have emanated from graduate schools in the and function, of concept and execution, in not likely to this produce objects (Paul Rand, A Designer’s Art , 1985). Then ask theexperiments same question to the Cranbrook Academy of Art students who created the ad hoc desktop publication Output (1992), and judge by the evidence they might From:answer School of the Art Institute of Chicago [and] University U.S. and Europe in recent years work driven by instincts and that beauty is chaos born of found letters layered on top of random patterns and shapes. Those who value functional simplicity would argue that the Cranbrook student’s publication, like a toad’s warts, is ugly. The difference is that unlike the toad, the Cranbrook students have deliberately of Texas,’) leaves the reader confused as to its purpose or obscured by theory, with ugliness its foremost byproducts. given themselves the warts. meaning, though its form leads one to presume that it is How is ugly to be defined in the current Post-modern climate where existing systems are up for re-evaluation, order is under attack and the forced collision of disparate forms is the rule? For the moment, let us say that ugly design, as opposed to classical design (where adherence to the golden mean and a preference for balance and harmony serve as the foundation for even the most unconventional compositions) is the layering of unharmonious graphic forms in a way that results in confusing messages. By this definition, Output could be considered fashionable experimentation. Though not intended to function in the commercial world, it was distributed to thousands of practicing designers on the American Institute of Graphic Arts and American Center for Design mailing lists, so rather than remain cloistered and protected from criticism as on-campus ‘research’, it is a fair subject for scrutiny. It can legitimately be described as representing the current cult of ugliness.
THE CULT OF THE UGLY DE STIJL PROFESSIONAL PRACTICE ERIK NIETSCHE
UGLY DE SIGN CAN BE A CONSCIOUS AT TEMPT TO CREATE AND DEFINE ALTERNATIVE STANDARDS.
The layered images, vernacular hybrids, low-resolution reproductions and cacophonous blends of different types and letters at once challenge prevailing aesthetic beliefs and propose alternative paradigms. Like the output of communications rebels of the past (whether 1920s Futurists or 1960s psychedelic artists), this work demands that the viewer or reader accept non-traditional formats which at best guide the eye for a specific purpose through a range of non-linear ‘pathways’, and at worst result in confusion. But the reasons behind this wave are dubious. Does the current social and cultural condition involve the kind of upheaval to which critical
intended as a design manifesto, another ‘experiment’ in the current plethora of aesthetically questionable graphic output. Given the increase in graduate school programs which provide both a laboratory setting and freedom from professional responsibility, the word experiment has to justify a multitude of sins. The value of design experiments should not of course be measured only by what succeeds, since failures are often steps
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ERIK NITSCHE: T H E R E LUCTA N T MODE R N I ST by Steven Heller T H E L I F E A N D WOR K O F T H E Q U I ET LY PI VO TA L S W I S S M O DE R N DE S IG N E R I K N I TSCH E , W HO’S CL I EN TS R A NGED F ROM T H E MOM A TO RCA I N A CA R EER T H AT S PA N N E D T H E 2 0T H C E N T U R Y.
Although he never claimed to be either a progenitor or follower of any dogma, philosophy, or style other than his own intuition, the work that earned him induction last year into the New York Art Director’s Club Hall of Fame, including the total identity for General Dynamics Corporation from 1955 to 1965 and the series of scientific, music, and world history illustrated books, which he designed and packaged during the 1960s and 1970s, fits squarely into the Modernist tradition.
fast pacing and dramatic juxtapositions. Rather than adherence to Modernist orthodoxy, Nitsche insists that the methodology that most closely resembles a Modern manner, clean, systematic, and ordered, developed because of his restlessness at doing mostly illustrative work during the early part of his career. Although he might not own up to the fact that he had played a formidable role in the Modernist legacy, Nitsche does not deny that he was as good - certainly as prolific, if not more so - than any other designer of his age.
Yet Nitsche’s approach was not a cookie-cutter Modern formula that so many designers blindly followed at that time. It was a personal fusion of early influences (classical and otherwise) and contemporary aesthetics based on
He also speculates that had it not been for his asocial tendencies (“I preferred to do the work, not talk about it”) and a few poor business decisions along the way (he says he turned down a job at IBM that later went to Paul Rand),
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JAM BRIEF Ice Cream packaging and illustration brief. The goal was to design a packaging and wrappers for a brand of ice cream called Avenues. The specifications were to cater for a chosen demographic whom had dietaries requirements. My ice cream concept is based on the Rastafarian diet, (ital) organic, raw, with no additives such as preservatives, colouring etc... The illustration brief specified using a character that was interacting with the product and the wrapper had to be duo tone only.
Diploma of Graphic Design [barbe] Group [4] [s3327741]
Per 25g serve Energy
360mL
115 kJ DI*
8%
Protein
Fat
0.7 g
0.7 g
4%
6%
DI*
DI*
Sat Fat
0.5 g DI*
1%
Carbs
4.4 g DI*
7%
Total Sugars Sodium
4.2 mg
12 mg
10 %
1%
DI*
DI*
CALL CONSUMER SERVICES 1800 655 888 www.foodco.com FoodCo Corporation, Dawson St, Brunswick, Vic 3056, Australia
LOW FAT ICE CREAM CONTAINS 2.4% MILKFAT. MADE IN AUSTRALIA.
* RECOMMENDED DIETARY INTAKE
AVE QTY PER 100g
460kJ (110 Cal) 2.9g 2.9g 2.1g 17.9g 16.8g 50mg 250mg 155kJ (35 Cal) 1.0g 1.0g 0.7g 6.1g 5.7g 20mg 85mg (10% RDI*) PROTEIN FAT, TOTAL - SATURATED CARBOHYDRATE - Sugars SODIUM CALCIUM
SERVINGS PER PACKAGE: 8 SERVING SIZE: 45g AVE QTY PER SERVING 45g
ENERGY
OF JAMAI CA STE TA
NUTRITION INFORMATION
DI*
115 kJ
Energy
Per 25g serve
DI*
0.7 g
8%
Protein
DI*
Fat
4%
0.7 g
DI*
0.5 g
6%
Sat Fat
DI*
1%
4.4 g
Carbs
DI*
7%
4.2 mg
Total Sugars
DI*
1%
12 mg
10 %
Sodium
360mL
OF JAMAI CA STE TA
ILLUs. BRIEF This illustration brief, specified at least ten pages on the same topic. I decided to illustrate events and feelings associated with places and people from my past. It is what I call a poetical illustration. Although quite biographical, it is narrated by an old women. Sweet nightmares was then hand bound. You can find the all book here : http://issuu.com/helenebarbe/docs/sweetnightmares_illustrated
ART.
H
elene barbe
phone: 0477856489 email: bhelenedesign@gmail.com
Start Again (C) to Marie-Helene Barbe // All rights reserved.