Chosen Practitioner - Paula Scher Booklet by Lauren Fernandes

Paula

SCHER

COLOUR CHEMISTRY AN ANALYSIS OF DESIGN PRACTITIONERS

Adhemas Luke CHOICE BATISTA

Adhemas BATISTA

Jessica HISCHE

CONTENTS The Diva is Dismissed poster by Paula Scher (1994).

ADHEMAS BATISTA

1-2

LUKE CHOICE

3-4

PAULA SCHER

5-6

JESSICA HISCHE

7-8

BIBLIOGRAPHY

9 - 10

Currently a freelancer, Batista has extensive experience with international agencies. In Brazil, he has worked with Agência Click, Popup Comunicações and Almap BBDO among others and independently owned a “digital shop” where he led a team of 20 persons. In the United States, he served at Hello Design and as Senior Art Director of Exopolis for a stint. From June 2015 to July 2016, he directed the “House of Colours” that focused on an intensive animation project for UNICEF’s “Unfairy Tales”

Figure 1: Stock Image Design for Fotolia “Ten Project” by Adhemas Batista, 2013

ADHEMAS BATISTA

razilian-born, self-taught graphic designer Adhemas Batista gained early influence from cartoons, comics, Carnival and his older brother — then a partner at an advertising agency — who inspired him to choose design as a career from age fifteen. In 2005, after having a successful advertising campaign for the Havaianas company, Batista became recognised globally and moved to the United States in 2006 and now lives with his wife and four children in Los Angeles where his studio is based. With a signature visual style that weaves swirling organic shapes, layers of intricate elements and vivacious hues into narrative concepts, Batista describes himself as being in the business of “selling colours” and his work as “bold but not political”, “imaginative and vibrant” aiming to bridge the “real and the imaginative” and to “seduce and inspire” the audience (Talking with the Pros Team, 2010). He states “I aim to create living art that will shine through the thickest corporate quagmire” (adhemas. com, n.d.)

series that brought attention to the plight of Syrian refugee children. With his team, he contributed “Malak and the Boat” that consequently earned him a Grand Prix for Good at the Cannes Lions Festival 2016, adding to dozens of other accolades in his 23-year career. In addition to his commercial work for major companies that include Absolut, Cadbury, Coca-Cola, Microsoft, Nestlé, Nike, Nokia, Unilever, Volkswagen and many others (Talking with the Pros Team, 2010), Batista has contributed to social projects including packaging design for Doritos in support of the LGBT community and charitable work for Greenpeace and Glug in 2016 that strived to create awareness of the Sustainable Global Goals of the United Nations.

“I aim to create living art that will shine through the thickest corporate quagmire.” - ADHEMAS BATISTA Batista’s projects have spanned UI design, print and motion. His designs are executed mainly through Adobe Illustrator and Photoshop. His streamlined process with customized libraries and unique techniques aids in realizing his initial design vision in 2–3 days, but he further refines according to the demands of the agency or client. His willingness to learn and explore has led him to new avenues of design including the opportunity to work in virtual reality for the 2017 Vegas: “Alter Your Reality” show. Like Batista the colourful nature of my Caribbean culture has influenced my designs while his strong illustrative qualities and signature style purposed into a range of dually decorative and anecdotal solutions reflect my own aims as a designer. I admire his focussed approach that has garnered him commercial success while his willingness to grow and become involved in new spheres of design and lend his talents to the advocacy of social issues symbolize the values, vision and ethic that I also aspire to consistently apply as a designer.

Figure 2: Poster Design for “Malak and the Boat”: UNICEF Refugee Campaign by Adhemas Batista & House of Colours, 2016 Figure 3: Illustration for Havaianas Brand by Adhemas Batista, 2005 Figure 4: Cannes Lion Illustration for Adobe by Adhemas Batista, 2015 Figure 5: Design for Gatorade Print Campaign by Adhemas Batista, 2013

Copyright is an aspect of Intellectual Property that may be defined as the exclusive legal right of the author of a creative material work — which may be literary, artistic, musical, dramatic, technical or typographical — to publish, distribute or use that work as the author alone chooses (Merriam-Webster Incorporated, 2018). Copyright law therefore aims to protect authors from theft or misuse of their creations and ensure their explicit “right to copy” (Copyright House Limited, n.d.).

According to the UK Copyright Service, copyright is immediately effective upon the realization of creative work. The law applies to the “individual or collective” that has created the work or to the employer or company for which a work has been created. The Service also states that for “freelance or commissioned work, rights will usually belong to the author of the work, unless there is an agreement to the contrary” (copyrightservice.co.uk, n.d.). In such cases, careful consideration should be given to the assignment of copyright to a client for single, repeated or long-term use, so that the designer can ultimately ensure that their work is not commercially exploited (Kattwinkel, 2007). To comprehensively protect one’s work from unauthorized use, it may be beneficial to formally register with a copyright service which can verify the date of production and therefore the original author, should the need arise (Copyright House Limited, n.d.). This may be particularly advisable for Graphic Designers (and Illustrators) whose work may be easily be copied/derived and reproduced. For graphic designs such as those produced by Adhemas Batista, under most circumstances “works generally last for the lifetime of the artist plus 70 years” and typographical layouts “last for 25 years from the end of the year in which the edition was ﬁrst published.” (The Design and Artists Copyright Society, n.d.). In the United Kingdom, copyright is covered by the Copyright, Designs and Patents Act 1988 (The UK Copyright Service, n.d.) and in the United States, by the “federal statute, namely the Copyright Act of 1976” (U.S. Copyright Office, 2009). While no international copyright law exists, there are international conventions that accommodate the protection of “foreign works” (U.S. Copyright Office, 2009). These conventions are the Berne Convention (existing since 1886) and the Universal Copyright Convention (established in 1952). The Berne Convention affords copyright protection for any member across the 175 countries that have agreed to it with no formal requirements. The Universal Copyright Convention stipulates the use of a copyright mark in the form of an encircled “c” (©) to satisfy the requirements of national law (U.S. Copyright Office, 2009). While graphic designers should be aware of copyright laws and practices to avoid illicit exploitation of their work, the intricacies of the law should also be known to ensure that they themselves do not infringe on the work of others. Such an infringement may occur if copyrighted work is referenced without permission and is additionally and recreated with key points of similarity. In some cases, “Fair Use” of works with noncommercial aims such as for educational and academic purposes may be allowed but always in tandem with referencing protocol (Zafarris, 2007). by Marisa Marcelle

hile I was looking for inspiration for my designs, I found an incredible self-taught designer. He is what I called a natural talent. He grew up in Sidney where he started his company Velvet Spectrum in 2007 after a year that left from Cambodia.

3D transformed his perspective for the world. He looks at the elements around him and thinks about the shadows and lighting. He is constantly looking for textures and at how he could construct the elements in 3D. He spent 5 years in New York. Like me, he started drawing his favourite comic characters from a young age. I therefore feel so similar to Luke. He is a simple man that has lots of creative passion in him. He always drew but he couldn’t identify what’s the best pathway to guide him to his success. Luke was not a person who could follow academic pursuits, as he was not a person who Figure 1: Perrier Flavours, digital image, (2017), Luke Choice

LUKE CHOICE

His ex-wife was from Cambodia so he followed her there where he had much free time to fulfil his dream. He started spending lots of his time with his computer programmes. He experimented with typography, illustration, 3D and the best part was when he combined them all. One of his main features was his technique of using the 3D with an illustrative aesthetic. Nature is his inspiration but he applies it to surreal art.

could study long hours. During his first couple of years after school, he worked in hospitality as a bartender and other similar jobs. He later realised that he needed a turn in his career and so got involved in the creative sector. He started watching tutorials and working on his techniques, by creating party invitations for friends and fake posters for bands that never existed. With this activity, he built his first portfolio that gave him his first job as a junior graphic designer in Sydney in a marketing agency. Luke Choice is a simple man that gets inspiration from nature’s beauty. He appreciates each day and he applies that to his designs. His designs are always bright and full of colour. In one of his blogs, he mentioned that his inspiration came from his father who was an illustrator and painter. They used to watch together the sunset.

“I feel like my work improved a lot once I stopped looking at what everyone else was doing and focused instead on what I wanted to make.” - LUKE CHOICE Luke Choice had an interview with Adobe cloud, as he is a master in Photoshop. At the interview, he admitted that his favourite combination is pink and black which is the reason pink is all over his artwork. Another major aspect is typography. Typography is a way for Luke to create more elements thought experimentation. Luke is a stunning designer as his talent and passion for art drives him to his success. He will always inspire me and remind me that the most important thing is to have faith in yourself and to stay motivated.

Figure 2: Digital Creation, (2015) Luke Choice Figure 3: Digital Typography, (2017) Luke Choice Figure 4: Distractions & Procrastinations by Luke Choice (2015) Figure 5: Cadbury Typography, by Luke Choice (2016)

Copyright is a safeguard that allows artists to protect the ownership of their work. Authors are the ones who have the right to say how their creation is going to be used or when they will be reproduced by anyone else. When we refer to the action of reproducing, we refer to printing, photocopying, filming or making a copy in two or three dimensions. That for example could be a construction of a building from a designer’s plan or a public poster from a graphic designer. In UK since 1978, copyright is owned for a lifetime by the original author plus another 70 years after his death. Broadcasts for example are protected for 50 years from the date they produced. The shortest protection period in copyright law you can get is in typography like a published book for example it the ownership will last for 25 years.

The person that creates the work is called ‘author’ and he is the one that takes the first copyright ownership. Copyright covers lots of different kinds of art. From photographs, architecture plans, to books, web designing or sculptures. However, the copyright law protection could have some differences from one country to another, as the legislation could be different. If you are the owner of the copyright, you are the one that decides if you want to give it to someone else. You are the one that has to decide if you want third parties or share a percentage of the copyright ownership or you could sell the rights if you want to companies or publishers. The design law protects the right of the physical look in relation to shape or appearance, like a design pattern printed on a dress, or the design of a brief case. The design copyright law protects the external appearance of a product in third dimensional pattern or second dimensional pattern. This external form of the product makes them more attractive to public. Such features helps the public decide which product they want to buy despite many products having the same use. The copyright law of design that exists can bring money to a successful designer who creates something interesting that someone would like to copy. However, this may not be fair to other designers, so the law has developed at two different levels. One law is referred to as copyright and one as design right, allowing other designers to be able to create similar features. An interesting part is when we come to fashion and patterns, where it is not possible to register all their design patterns, as there are too many of them and they update their lines quite often, like Zara does. For this occasion we have another way, is the unregistered design right. It protects your designs for 3 years only but is more than enough for this industry. Copyright is here to protect as it makes sure that will be here to give you the ownership of your unique creations.

by Christa Vasilikou

ithin a heavily male-dominated industry, Paula Scher is one of the most influential female graphic designers around. From being a partner of the largest independent design consultancies, Pentagram to being an expert of making a visual communication through typography. Scher has proven how important it is to push design boundaries to raise questions rather than answer questions.

Without realising it, Scher was designing album covers with influences of post modernism due to her growing typography obsession. She managed to create a radical shift in how album artwork was designed, pushing the illustrations to the background and bringing typography to the forefront. Scher also experimented with Russian Constructivism for Jazz posters, allowing the type to help create a visual message to the viewer’s eye. In 1994, Scher created the identity for The Public Theatre. Seeking inspiration from American Wood Type, she was able to represent the different personalities of New York by simply changing the weight of each character in the word ‘Public’. One of her most famous projects Figure 1: Planned Parenthood Enivronmental Graphics by Paula Scher (n.d.)

PAULA SCHER

Gaining inspirations from contemporary culture, comic books and underground magazines, Scher started her career first designing for the music industry in the 70s, later becoming an art director for CBS Records at the age of 26.

for The Public Theatre is the Noise Funk posters where she allowed the type to talk, breaking up the negative space in bright, bold colours. This style later became the standard for theatre poster design. Over the course of her career, Scher has developed a variety of packaging and publication designs, promotional materials for many different companies. She is commonly approached by companies to design identity and branding systems. This is where she pushes the concept of the brief as far as possible in order to create something that is timeless yet adaptable for changing times. When asked in an interview what equipment she uses to design, she replied, “I don’t think about equipment when I design. I think about what I want to make, and I’m looking outside of a screen for what I want to make.” (Scher, (2017). Scher has always preferred to design with a hands on approach and as a young designer she preferred to paint her own fonts, even when technology started to evolve in the late 90s.

“Typography is painting with words... that's my biggest high.” - PAULA SCHER (2017) In order to maintain this concept of using a hands on approach to design, Scher went on to specialise in Environmental Graphics where she is able to visually communicate and design the ‘physical world’ by reimagining urban landscapes by placing dimensional typefaces on building. She also uses her fine art skills to produce large scale maps which have been exhibited all over the world. I find Scher’s work really inspirational, from the uses of bold colours to the ways she has made type talk in the most simplest of forms. The fact that she has also managed to continuously create trends over a long period of time motivates me to believe that it is possible to be a successful female designer.

Figure 2: Bring in ‘Da Noise, Bring in ‘Da Funk by Paula Scher (1995) Figure 3: Dan Hartman – Instant Replay by Paula Scher. (1978) Figure 4: MoMA Signage. by Paula Scher (n.d.). Figure 5: Environmental Graphics for Queens Metropolitan Campus by Paula Scher (n.d.).

According to DACS, “copyright is a form of intellectual property that allows individuals such as artists, composers and writers to own the fruits of their creativity” (DACS, 2017). The copyright holder is entitled to a say of how the is used or reproduced by others as well as royalties. In terms of the graphic design industry, copyright covers many types of artworks such as photographs, paintings, graphic work, collages, sculptures, works of artistic craftsmanship or architecture. In most cases the first copyright owner is the author of the work however it is possible for there to be joint copyright owners when there is more than one creator. Copyright can also be assigned or licensed to third parties giving them the right to only use the work and not own it. For example: If a designer has created a piece of graphic design, they are can license their copyright to a third party such as a t-shirt company to reproduce their design on t-shirts. A copyright owner would have the following exclusive rights to:

• • • •

Reproduce or copy the work Distribute or issue copies of the work to the public Rent or lend the work to the public Communicate the work to the public through electronic transmission or broadcasting

The copyright protection for artists differs in each country due to relying on the national legislation. In the UK, the copyright for artistic works “lasts for the lifetime of the artist plus 70 years after their death” (DACS, 2017). Copyright infringement is when someone uses the exclusive rights of the copyright owner without permission. This could be the whole or using elements of the artistic work. If copyright infringement does take place, the copyright owner is entitled to the proceedings against the infringer. Successful cases tend to include “an award or an induction which orders the infringer to stop using the work immediately”. However, bringing an infringement case to court can be time consuming and costly so it is advised to seek legal advice from a specialist first. In terms of copyrighting artwork, there is no need to go through a legal process as it is created once the work is produced in a material form such as digital or physical. It is important to note that only permanent expressions of an idea can be copyrighted and ideas are not protected. As a designer, it is good to keep a record of your artwork for evidence of when it was created. Moral rights are a number of personal rights which belong and apply to the creators or subjects of creative work. These rights are part of the Copyright Design and Patents Act 1988, the UK’s current copyright law which came into effect on the 1st August 1989. Moral rights can not be sold like copyright but can only be given up. It is advised for Artists to not give up their moral rights as they would no longer be able to obtain these rights as well as be identified as the creator of their own artwork. by Lauren Fernandes

essica Hische is an American illustrator, lettering artist, and type designer. Hische has been working in the industry for over ten years and has collaborated with many clients including; Adobe, Apple, Penguin Books, Tiffany & Co. and UNICEF. She has created custom lettering artwork for many established brands, classic books, postage stamps and more. Hische has mastered the talent of hand lettering, she creates beautiful and unique, hand-drawn lettering with fun, bold designs. Based in California she shares a studio with lettering artist Erik Marinovich in San Francisco.

Practice Hische’s medium of choice is a computer and vector drawing software. Her final artwork may be digital but much of the process happens off the computer. She begins her process by researching, brainstorming, exploring thumbnails, sketching and creating final artwork for the computer. Hische chooses her lettering styles depending on the client and subject matter and uses a maximum of three lettering styles per sketch. She uses the principles of pen and brush weights to determine how weight is applied to letterforms. Unique & Innovative Jessica Hische projects reveal her love for design and lettering. Her projects are about problemsolving, and that researching and

Figure 1: Drop Caps by Jessica Hische (2009) Created for Penquin Books

JESSICCA HISCHE

Hische counts designers Matthew Carter, Marian Bantjes, Ed Benguiat, and Alex Trochut among her heroes in type and lettering.

brainstorming are the important parts of the creative process. She focuses on the client and what they wish to achieve. Each piece of lettering is uniquely different and created to compliment a customers brand but still identifiable as a Hische creation. Her central theme is based on lines and the form of lettering. Letters become objects, figures, and images when she creates and uses them. Sketches and thumbnails are important to me when starting my design process, they allow you to explore different layouts and concepts before refining your artwork. I relate to Hische’s work and her process because she focuses on the importance of this very early in the design and thinking process.

“The work you do while you procrastinate is probably the work you should be doing for the rest of your life” - JESSICA HISCHE (2018) Hische diverse approach to lettering and illustration inspires me to challenge myself, especially using the Adobe software to create and improve my skills. She promotes the importance of learning, looking and observing type, and the development of practice to improve your skills each day. She is very honest in her approach, her creative process and loves to share what knowledge she has about her work, and has an inspirational passion for design. Custom lettering can be a cross between type and illustration. The words communicate a message in a distinctive and unique way, it adds another dimension to the message. This was my introduction to Jessica and her work. I bought the Barnes and Noble book collection, the design of the cover caught my attention and drew me in. The style of the lettering and the unique decorative elements related to the story. The cover was part of the narrative. Hische’s work is delivered with legibility, beauty, personality and technical precision.

Figure 3: 64 by Jessica Hische Figure 2: Love Stories by Jessica Hische (2014) Created for the (2011) Ceated for The Type Directors Club New York Times Figure 4: Poster by Jessica Hische (2015) Created for The Academy of Motion Picture Arts and Sciences Figure 5: 28 Days by Jessica Hische (2017) Created for Notre Dame Alumni Association

What is Copyright? “Copyright is the legal right that protects the use of your work once your idea has been physically expressed.” (BBC, 2018). The current legislation in the UK is the Copyright, Designs and Patents Act 1988. Copyright law gives the designer or creator of an original piece of work the exclusive rights to control reproduction and distribution of material.

What is Intellectual Property? Intellectual property is something unique that has been physically created. Examples are; music, writing, design, photographs, inventions, etc. Intellectual property protection helps to protect the names of your products and brands, inventions, design and look of products, what you write, make and produce. Copyright, patents, designs, and trademarks are all types of intellectual property protection. You can use someone else’s intellectual property by getting their permission or by buying the rights from them. Using someone’s trademark, patent, copyright or design without their permission is know as ‘IP infringement’ and could lead to a fine, prison or both. To use a registered design you must contact the current owner and agree a licence to use the design or buy it from them. ‘Design right’ protects your design for 10 years after it was first sold or 15 years after it was created. You’ll need to prove when the design was created if you want to claim the design. You can also register the design for better protection. Design rights exist because successful shapes and appearances cost money and can be worth a great deal to their owner commercially. The law has developed a difference between copyright and design right to give a range of limited rights to the owners of the designs. This includes the length and scope protection. Both copyright and design rights are an important way to protect your work. The standard copyright duration is the life of the creator plus 70 years. The legislation of copyright law can change depending on the country. The length of protection can also vary depending on the country. How does copyright relate to designers? Drawings, creating typefaces, product packaging, infographics, patterns, logos, computer characters and icons and website design are copyrightable. Anything you create in a new, unique and original way is subject to copyright protection. Copyrights are designed to protect the designer. An example of this would be the Coca-Cola bottle. The shape of the bottle has been registered so only Coca-Cola can use it. This product has a unique appearance and because it has been registered no other company can copy the design. Another example would be the highly documented battle between Apple and Samsung over the shape of their tablet devices. Apple had an RCD in place (Registered Community Design) which covers the whole of the European Union for up to 3 years and 27 states in America. RCD’s protect the appearance of a product. A registered design gives it’s owner the exclusive right to prevent any third party from using their design. The protection includes lines, contours, colours, shapes, texture, and ornamentation. by Louise Eckersall

Lex van den Berghe , blog for Luge Choice, [Online] at:https://theblog.adobe.com/the-eclectic-designbehind-velvet-spectrum/ [accessed at 16/03/2018]

Fotolia (2013) Ten By Fotolia - Season 2 - Adhemas Batista - Los Angeles - Brasil - Tutorial [Online video] Available at: https://www.youtube.com/watch?v=GsHhaFSF9pg [Accessed 12th March 2018]

Video, Interview with Adobe Creative Cloud, [Online] at: https://www.youtube.com/watch?v=sOvEQP [accessed at 15/3/2018]

Shoot Staff Writer (2016) VFX/Animation Chart Topper: “Malak and the Boat”: UNICEF Short Shows Plight Of Syrian Refugees [Online] Available at: https://shootonline.com/ node/66309 [Accessed 14th March 2018] Talking with the Pros Team (2010) Interview with Adhemas Batista [Online] Available at: http://www.talkingwiththepros. com/adhemas-batista.php [Accessed 10th March 2018] Batista, A. (2008) Cover Image: Background Design for Windows 7 [Online image] Available at: http://www.adhemas. com/Windows7 [Accessed 13th March 2018]

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Fig. 1 Batista, A. (2013) Stock Image Design for Fotolia “Ten Project” [Online image] Available at: http://www.adhemas. com/Fotolia [Accessed 13th March 2018] Fig. 2 Batista, A. (n.d.) Signature Style Illustration [Online image] Available at: http://payload472.cargocollective. com/1/14/471930/11740359/spring_1200.jpg [Accessed 28th March 2018] Fig. 3 Batista, A. and House of Colours (2016) Poster Design for “Malak and the Boat” Animation for UNICEF Refugee Campaign [Online image] Available at: http://www.adhemas. com/Unicef [Accessed 13th March 2018] [Accessed 13th March 2018] Fig. 4 Batista, A. (2005) Illustration for Havaianas Brand [Online image] Available at: http://www.talkingwiththepros. com/adhemas-batista.php [Accessed 12th March 2018]

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LUKE CHOICE

ADHEMAS BATISTA

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Paula Scher photo. (n.d.). [image] Available at: http://www. knstrct.com/architecture-blog/2013/11/05/talking-withdesigner-paula-scher-about-the-worlds-first-architecturestorytelling-competition [Accessed 22 Mar. 2018]

BBC (2018). BBC. (Online) Available at: http://www.bbc.co.uk/ copyrightaware/what-is (accessed 14th March 2018)

The Diva is Dismissed poster by Paula Scher (1994). [image] Available at: https://www.pentagram.com/work/the-publictheater [Accessed 22 Mar. 2018] Figure 1: Planned Parenthood Enivronmental Graphics (n.d.). [image] Available at: https://www.pentagram.com/ work/planned-parenthood?rel=discipline&rel-id=4#17360 [Accessed 28 Mar. 2018] Figure 2: Bring in ‘Da Noise, Bring in ‘Da Funk by Paula Scher (1995). [image] Available at: https://www.pentagram.com/ work/the-public-theater [Accessed 11 Mar. 2018].

Jessica Hische (2015). Hische, J. (Online) Available at: http:// jessicahische.is/finallyletteringthatthingshesaid (accessed 14th March 2018) Cover Image, (2012) Hische, J. (Online) Available at: http:// jessicahische.is/designingalovestamp (accessed 14th March 2018) Contents Image, (2018) Hische, J. (Online) Available at: http:// jessicahische.is/soinlovewitholgabell (accessed 14th March 2018) Jessica Hische Photo (2018) (Online) Available at: http:// jessicahische.is/anoversharer (accessed 14th March 2018)

Figure 3: Dan Hartman – Instant Replay by Paula Scher. (1978). [image] Available at: https://img.discogs.com/1K7kO_ U H N R 6 n 7 cW 0 S - 3 a a z G x p b 8 = / f i t - i n /6 0 0 x 6 0 0 / filters:strip_icc():format(jpeg):mode_rgb():quality(90)/discogsimages/R-371440-1173473075.jpeg.jpg [Accessed 12 Mar. 2018].

Fig. 1 Penguin Drop Caps (Online) Available at: http:// jessicahische.is/readingatonofbooks (accessed 14th March 2018)

Figure 4: MoMA Signage. (n.d.). [image] Available at: https:// www.pentagram.com/work/moma [Accessed 11 Mar. 2018].

Fig. 3 Academy Screenwriting Poster (Online) Available at: http://jessicahische.is/fortheacademy (accessed 14th March 2018)

Figure 5: Environmental Graphics for Queens Metropolitan Campus. (n.d.). [image] Available at: https://www.pentagram. com/work/queens-metropolitan-campus [Accessed 12 Mar. 2018].

Fig. 2 Love Stories (Online) Available at: http://jessicahische.is/ inlovewiththenewyorktimes (accessed 14th March 2018)

Fig. 4 TDC 65th Anniversary (Online) Available at: http:// jessicahische.is/makingavalentinefortdc (accessed 14th March 2018) Fig. 5 28 Days of Peace (Online) Available at: http:// jessicahische.is/countingdownthedays (accessed 14th March 2018)

AA COLLABORATIVE COLLABORATIVE PROJECT PROJECT BY: BY:

Lauren MarisaFernandes Marcelle Christa Vasilikou Lauren LouiseFernandes Eckersall Marisa Louise Eckersall Marcelle