The Designers

the

DESIGNERS

HERBERT BAYER JOSEF MÃœLLER-BROCKMANN PAULA SCHER STEFAN SAGMEISTER

by Nasra Hamid

06

04 Josef MüllerBrockmann

by Toms Linins

Herbert Bayer

by Tatiana Bobkova

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08

Paula Scher

Stefan Sagmeister

by Natascha Lumayno

HERBERT BAYER

ative use of geometric shapes. These shapes were consistently used in place of decorations and ornamentations and is evident in majority of his designs. I have always been fascinated by shapes and often feel a sense of satisfaction when I incorporate them in my regular studio practice like in the poster designs in level 4. Being a student of design and still looking for my own signature design style, I often prefer to integrate a bit of decorations and geometric shapes in my designs.

Also, whenever my aim is to have a design with a meaningful, creative yet professional tone of voice, I look up to Bayer’s designs for example in Fig3 where he communicates the movement of Bauhaus from Weimar to Dessau using very simple yet appropriate photographs. It exhibits a high level of simplicity, professionalism, creativity and quality that cannot be denied.

hile learning about the different design movements that sprouted during the early W 19th and 20th centuries, I was mesmerized by how far the design industry had come and how ‘‘Why do we write and print with two different alphabets simultaneously? We much has changed ever since.

I was especially intrigued by the Bauhaus movement and how they were particular about their design content hence "Form follows Function". After reading about a few significant members of this particular movement, I was drawn to Herbert Bayer.

The first aspect of Bayer’s designs that had a great impact on my personal practice is his cre-

Copyright law is a legal right given to a musician, designer or artists by the government to own their creative processes or property. It is only fair enough for a creative practitioner to own his works and decide how best other people should benefit from it.

do not speak a capital ‘A’ and a small ‘a’’’.

Further still, the unconventional use of grid that Bayer adopted from the modernism era that aids his works standout and grab attention is something I find quite unique and hence drawing inspiration from.

Designers are advised to keep records of their creative processes as evidence incase their works are illegally used. These records work as proof for the owner that the work in-question is actually theirs in the courts of law if they decide to take legal action against the lawbreaker or copycat.

COPYRIG Copyright covers original and tangible works like photography, music record tracks, journals, films, dance moves, architecture, animation works and many others. Intangible things like ideas and facts cannot be copyright protected but instead fall under Intellectual Property.

There is a lot of misconceptions about copyright and how to go about it. The truth is, once you begin creating your original work, it is already being protected by copyright laws.

04 TEXT BY NASRA HAMID

It is so easy for practitioners to acquire copyright of their works. This builds a sense of safety for the creative practitioners.

It is very important for practitioners to have copyright laws to protect their property because:

It gives designers, for this case, the right to own their creative works. Having this right gives them power to dictate who does what with their works hence easy monitoring of personal works.

Additionally, although I believe I use more color compared to him, I find Bayer’s color choices fitting for each unique work that he creates. This tells a great deal about his primary knowledge of colors that I feel I need more work on.

Another aspect of Bayer’s works that has always amused me is his creativity in typography. I personally struggle with typography and try to learn from my everyday surroundings, therefore adding my IDI knowledge about characteristics of fonts, font pairing and having Herbert Bayer as inspiration offers me a great feeling of contentment and thus developing my confidence.

1925 "Universal alphabet"

Last but not least, as a student of Graphic Design, I can only be marketable and competitive if my curriculum vitae boasts a diversity in skills. Therefore, knowing about Bayer and his numerous skills is a motivation towards achieving this ultimate goal.

The quality of Herbert Bayer’s works is something to muse over bearing in mind the era he lived in. I so believe had Bayer been around in this century, where technology is at its best and still improving, he would be the greatest designer of all time.

1926 "Dessau,"

It helps reduce the rate of property theft due to the specified penalties that are implemented on the law breakers.

1954 "Advertising for Noreen hair color"

dividual to use an art piece and not be charged with violation of the copyright law.

There are few circumstances where fair practice or use is applicable:

GHT LAW It also helps motivate designers to create more original works that the public can benefit from, bearing in mind their works are protected.

Copyright also helps the designer gain recognition for the good work done hence widening their scopes of getting jobs or clients. It also gives the owner the right to earn money by selling or hiring his/her original works.

Copyright gives the owner the right to create adjustments and develop his works. To be fair to the public, an approach called fair practice which allows an in-

Educational purposes where students and their teachers will not be charged for using copyright material because they are simply using this material for enhancing their skills and knowledge.

Also, using a copyright material for purposes like criticism, commentary and news reporting are not considered as violations.

Fair use is not applicable if the copyright material is taken for commercial use or if the most important part of the work is copied.

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JOSEF MÜLLERBROCKMANN wiss-born Josef Müller-Brockmann (1914– 1996) was one of the most influential deS signers of the 20th century. Having started as an illustrator and exhibition layout designer, he eventually switched to functional graphic design.

Using geometric compositions, experiments with photography and continual use of his self-defined typographic grid system, he attained global renown and his ideas remain as influential today as they were back in his heyday.

Josef Müller-Brockmann is among the luminaries of the Swiss School of International Style. Constructivism, Suprematism, De Still and the Bauhaus all

For a designer, copyright can be a welcome source of livelihood, but simultaneously a harsh judge. A large chunk of a designer’s earnings may stem from copyright. However, copyright is a double-edged sword. Occasionally, a designer may create a wonderful, and in his own humble opinion, innovative and unique graphic design project, only to discover that, instead of receiving deserved recognition, someone else has already got there first.

informed the development of his signature style of design and guided him towards the discovery of new ideas. His peak years were after the war when demand for new aesthetic items was at its height, leaving isolation behind, confined within the walls of nationalism, fear and destruction.

One of his best-known projects was created for the Zurich Town Hall, as a series of posters advertising events at this venue. Together, with the Automobile Club of Switzerland and his signage for Swiss Federal Railways, these projects are iconic examples of Swiss graphic design. The posters have strictly functional criteria, despite which they demonstrate the use of various design approach solutions in the formation of dynamic compositions. According to critics, Müller-Brockmann’s posters create a mathematical harmony, which resonates in musical harmony.

Compared to music posters created before his time, his posters are a bold and different way to communicate visual messages. He was the first to use such a graphic set of solutions.

Müller-Brockmann’s words in an interview with Eye Magazine about order in graphic design offer a lesson that I endeavour to implement in my everyday work, "Order was always wishful thinking for me. For 60 years I have produced disorder in files, correspondence and

‘‘The grid system is an aid, not a guarantee’’.

well as new forms that you need a machine to perceive (e.g. GIF files, websites, etc.) are subject to copyright.

In reality, various exclusive rights are "packaged" together by the ribbon of copyright. For graphic designers, the relevant exclusive rights are the rights to (1) reproduce, (2) display, and (3) make adaptations ("derivative works") inspired by your work. Each individual exclusive right in the "package" is subject to separate ownership.

COPYRIG Copyright is defined as the exclusive right to control reproduction and commercial exploitation of a designer’s creative work. Cartoons, paintings and graphic design in fact every kind of art work you can think of - are protected by copyright. In most cases, you gain ownership of the copyright to your work as soon as you create it in a "fixed" form of "expression." Thus, traditional "fixed" forms of expression like paintings, sculptures and poems, as

06 TEXT BY TOMS LININS

More often than not, copyright belongs to the original author of a work. Unless, that is, you create an original work of design while working as a paid employee.

Copyright entitles authors of original work to control the use of their material, restrict unauthorized copying and reproduction by others. Infringement of copyright oc-

books. In my work, however, I have always aspired to a distinct arrangement of typographic and pictorial elements, the clear identification of priorities. The formal organization of the surface by means of the grid, knowledge of the rules that govern legibility (line length, word and letter spacing and so on) and the meaningful use of colour are among the tools a designer must master in order to complete his or her task in a rational and economic manner."

As a designer, I have been most influenced by the works and ideas of Josef Müller-Brockmann. His poster language, showcasing an expressive, but formally simple, visual communication code, is highly effective at communicating a universal and timeless message. His approach, making works more graphic than illustrative, really appeals to me. Müller-Brockmann captivates users and sells products with bold simplicity. It is a simple, clean and graphic message that viewers can understand universally.

1955 Beethoven poster

Nowadays, given the demand for print and digital design, Müller-Brockmann’s lesson about simplicity being the most convincing communication tool is vital.

It is much more powerful than a mash-up of numerous different elements. In the age of the Internet and globalization, it is crucial that messages are simple and instantly comprehensible in various languages and cultures.

In my opinion, all design students would benefit from studying two dynamic books

by Müller-Brockmann Grid Systems in Graphic Design and The Graphic Artist and His Design Problems.

1953 Protect The Child poster

curs when original works are copied or commercially exploited without the consent of their owner. The lookalike must be a copy of the original — it is not infringement if you produce a similar work independently. Instances in which an original work of art is referenced by an artist other than its creator tend to set the cat among the pigeons. Copyright infringement is not confined to exact copies of original works. A second work only has to be "substantially similar" to the original for infringement to occur.

1981 Grid Systems in Graphic Design book cover

copyright belongs to the designer. The client’s reward is the use and ownership of the fruits of the design, i.e. posters, logos and homepages, etc., but not the design itself.

GHT LAW Oftentimes, freelance graphic designers don’t know whether the copyright belongs to the client or the designer. In circumstances where the client commissions and pays for an original work by a designer, it might seem logical that ownership of the copyright to it might pass to client upon payment. However, according to legislation,

Such is the restrictive power of copyright that it can impose limitations on the use of a graphic work for quotation, research or educational purposes for 70 years or more (copyright durations vary from country to country).

In this context, Creative Commons is a ground-breaking innovation offering lawful technical infrastructure that facilitates extensive development and distribution of digital creative work. Its free public infrastructure offsets the open spaces of the Internet with the standardization demanded by copyright law. If you want to launch trends through your original creations, letting your work be shared, cannibalised and reimagined by others is a highly effective way of doing so.

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PAULA SCHER

ne of the designers that has had the O most influence on my creative practice is Paula Scher. I remember watching her TED speech at the time when I had just recently made a decision to study graphic design and was nervous about my lack of any previous art education.

I found that talk both highly inspirational and, come to think of it, rather depressing. It has left a deep impression on me; I guess I can understand what she meant a little bit better now.

Scher actually went to an art school, though.

Shortly after getting her BA in Fine Arts, she moved to New York and started working for major music labels, designing album covers. It was the early 70s when European modernism dominated mainstream American graphic design. She has admitted to hating its epitome, Helvetica, and found her inspiration in Art Nouveau, Art Deco and Victorian typography instead. That was before people began calling her a post modernist. After a while Scher left to start working as self-employed and explore her passion for typography ‘‘Great design on her own terms. She even is serious, co-founded a studio but by not solemn’’. the 90s she and her creative partner closed the business.

There, she explained the difference between solemn and serious design, and how, in her experience, the greatest, most innovative work is created when you treat it like a play and can let yourself be ignorant about it. She said that the best way to accomplish serious design was to be completely unqualified for the job. As a novice,

Soon after she joined Pentagram as the first female principle and from then on focused on designing identity systems and environmental graphics. Her famous identity design for the Public Theatre in New York was groundbreaking in terms of its innovative approach. It was not highly politisised but still radical at the time in its scope and aesthetic. Scher placed particular emphasis on the world ‘public‘ to position the institution

Copyright is the right to copy something, whether this is physical, like a photocopy or print, or digital, as in a file from a digital camera or a scanned image (Marshall & Meachem, 201O). Some things can’t be copyrighted, namely: titles, slogans, names, measurement charts, calendars, variations of lettering or colouring. Many of these can only be protected by trademarks. The difference is that copyrighting is the act of using the trademarked item in written text to market, advertise, or convey a viewpoint. Trademarking is a means of identification to distinguish a name, symbol, or word as unique to that manufacturer. Even if a name is trademarked it can still be used in a design or written work as long as it isn’t manufactured under that same name (Owen, 2013).

When an image is produced the copyright normally remains with the author of the work. It typically spans the author’s life plus fifty to one hundred (in most places, seventy) years after the originator’s death, although there may be situations where it is held by institutions or owners of the work, such as galleries. It is important to note that ownership of the artwork does not necessarily equate with ownership of the copyright. For instance, if a person sells a painting or an illustration to someone, the copyright remains with the artist, not the new owner (Marshall & Meachem, 201O). There are, however, exceptions to this rule. An notable exception would be if a designer is making something for a client then they will most likely own part of the copyright as well.

COPYRIG 0 8 T E X T B Y TAT I A N A B O B K O VA

as an affordable and accessible venue for all. There was no format to be followed, no inhouse department that called the shots; every single piece, from the logo and various printed matter to the things the theatre did online, was designed by her alone.

Her art school background shows in the fascinating detailed map paintings she started creating in the late 90s as a stress relief activity from the slow and tedious project negotiations with Citibank. It is quite a story: she had the logo for them drawn on a napkin their first meeting — the one with ‘t‘ as an umbrella they still use today — and had to spend an entire year trying to persuade the client that logo was good enough to use.

Another type of work Scher is well-known for, and one which is quite pertinent to my own creative interests, is environmental design and wayfinding. When she started out, she had little idea how to realise that kind of project. It urged her to approach the problem like a kid, naively. She wondered why the signage can’t be on the floor if the New Yorkers look at their feet! But that is what serious design means to her: an engagement in a childlike activity or endeavor, a game or, to put it differently, a gamble.

2008 "Tsumani" (fragment), acrylic on canvas

1996 "Bring in ‘Da noise, Bring in ‘Da Funk" poster for the Public Theatre

Most companies will want the work for them to be solely theirs but, if possible, it’s better to get shared rights so the work can be claimed for solid reference.

Usually these agreements prohibit a designer from using the image anywhere else. Infringement in relation to creative practice is when someone takes a substantial part of someone else’s design without their permission. Exact standards vary from country to country but generally the substance is considered the part that defines the work as unique and truly gives it originality (Owen, 2013).

2006 Bloomberg NY Signage, 5th Floor

original sections with some minor adjustments (Marshall & Meachem, 201O), although the test for originality can be a very grey area (Owen, 2013) .

GHT LAW The designer needs to think carefully about taking sections of images for use in composites such as photomontages or collages. The resulting image should be unique, and not just a replica of the

Creative Commons is a form of copyright where content creators who want to share their work may do that. It is usually on the condition that their work be properly attributed. Some allow to distribute and modify for commercial and non-commercial purposes, some only allow to use them for non-commercial purposes, and some require to subject the new work to the same license as the shared content.

Any violation of these laws is stealing but once a designer gives that consent anyone can use their work for any purpose regardless if it’s inferior work or not consistent with the originator’s beliefs (Owen, 2013).

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STEFAN SAGMEISTER

orn in 1962, in Bregenz, Austria, Stefan Sagmeister already knew at the age of 15 B what he wanted to pursue career wise. After working for an Austrian magazine at a young age, he already knew he wanted to study Graphic Design once it was time for it, as he enjoyed working on the magazine’s layouts.

He studied at the University of Applied Arts in Vienna, after a second attempt of admission and even received a scholarship to study at the Pratt Institute in New York, after.

After completing his studies, Sagmeister gained a lot of experience as a graphic designer by working

for Leo Burnett’s advertising agency in Hong Kong and even for Tibor Kalman at M&Co until Kalman decided to shut down his company to move to Italy.

From there Sagmeister started his own company, Sagmeister Inc. and designed CD covers for Mick Jagger, Lou Reed and David Byrne, to just name a few. His techniques and innovative concepts to create his packaging designs earned him his two Grammy Awards.

Known for his CD cover designs, Sagmeister decided to stop designing any more after a trip to Seoul, Korea in 2003, where he discovered the MP3 player and thought that CDs would become irrelevant in a few years. After that he also decided to take a one year break from work in 2008 and moved to Bali.

Four years after Bali, the graphic designer decided to rename his company Sagmeister & Walsh, after hiring Jessica Walsh and making her a business partner. Some of the services the firm offer are advertising, branding and consultancy. Some of their clients include Snapchat, Levis, MOMA, The New York Times and NYTimes magazine.

To be honest, I did not think much of Sagmeister and his work when I first came across him, but things changed quickly when there happened to be an exhibition on the Happy Show in one of the museums here in Vienna and I went to see it. The

Copyright is an exclusive and legal right given to the rightful owners of a work to decide how other parties can reproduce it. These reproductions include copying, printing, including a piece in a film or TV or posting online.

agreement to that in the contract.

In the UK, copyright lasts for a lifetime of an artist and an additional 70 years after their death.

Copyright owners are entitled to following rights: • -

Reproduction right

• -

Distribution right

• -

Rental or lending right

COPYRIG Typically, the author of a work is the first copyright owner, unless there are two or more creators to a piece and an uncertainty on the work contribution, in this case there is a talk of a joint copyright ownership. Particular attention should be paid to commissioned work or work made during employment, as different rules apply, meaning that the commissioners and employers are the first copyright owners, unless there is a different

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• - Right to communicate work to public by broadcasting or electronic transmission Copyright protection is granted immediately to a piece once it takes shape into physical form, there is no need to go through any legal process. It is worth noting that ideas are not protected.

Copyright infringement occurs when someone disobeys the owner’s rights. It is worth noting that there are some

Happy Show is a documentation of Sagmeister’s ten year exploration of happiness. The aim of this exhibition is to take visitors on a journey through his mind as he attempts to increase his own happiness.

The exhibition was very interactive, he had several installations that encouraged visitors’ participation, to give an example, right at the beginning of the exhibition was a machine spitting out several cards with instructions on what to do during the visit (e.g. Continue enjoying this exhibit – with your fly open. If you are not wearing trousers, open the top three buttons of your shirt.).

Stefan Sagmeister creates innovative, humorous and even controversial content at some times. I like to think that he mainly creates content for himself, he does not really care if people might think negatively about it, just as long people talk about it satisfies him. He creates content just for the sake of creating something and that is very admirable.

His work ethics encourage me to step out of my comfort zone more.

2012 - 2015 Installation at The Happy Show

2012 - 2015 Card dispenser at The Happy Show

2008 CD packaging design for David Byrne and Brian Eno -Everything that happens...-

exceptions to copyright under certain circumstances, some of the examples are following:

piece is permanently on public display, it may be photographed or filmed.

• - Criticism and review: when a piece that is available in public, say a public exhibition, work can be reproduced for criticism and review, as long as the artist’s name and the title of the piece is mentioned.

• - Advertising: if a work is offered for sale, an image of it can be used for advertising purposes.

GHT LAW • - Research and private study research: such as for school or university.

• - Preservation or replacement copies: if, for example, an artwork in a permanent collection of a museum has been damaged or has a missing piece, a cultural institution can make a copy of the artwork for display, to preserve the original.

• - Certain artistic works on public display: if a

To prevent a work from any copyright violations there is an option to include the copyright sign, as well as your name and the date to the piece. It may prove to be helpful in case you have to take action to the breach at some point.

In case somebody violates your copyright, there is the possibility to bring the action to court, which can become quite expensive and be time consuming.

Another possibility is to communicate with the other party to find a solution for the issue.

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Bibliography

HERBERT BAYER A-Z Quotes. (n.d.). TOP 5 QUOTES BY HERBERT BAYER | A-Z Quotes. [online] Available at: http://www.azquotes.com/author/36994-Herbert_Bayer Encyclopedia Britannica. (2016). Herbert Bayer | Austrian-American artist. [online] Available at: https://www.britannica.com/ biography/Herbert-Bayer#ref233407 Hall, S. (2008). Bauhaus 1919-1933 | Socialist Review. [online] Socialist Review. Available at: http://socialistreview.org.uk/321/ bauhaus-1919-1933 Library.rit.edu. (n.d.). Herbert Bayer | Graphic Design Archive | RIT Libraries | RIT. [online] Available at: https://library.rit.edu/gda/ designers/herbert-bayer

JOSEF MÜLLER-BROCKMANN Muller, L. & Rand, P. (1994) Josef Muller-Brockmann: Pioneer of Swiss Graphic Design. Lars Muller Verlag Schwemer-Scheddin, Y. (1995) A conversation with Josef Müller-Brockmann. Eye Magazine, issue 19 (1995). Available at: http://www.eyemagazine.com/feature/article/reputations-josef-muller-brockmann Gray, J. (2004) Researching Josef Müller-Brockmann: A Juxtaposition of Viewpoints.

Available at: https://www.scribd.com/document/52215729/ Brockmann

PAULA SCHER Oxford Art Online (n.d.) Paula Scher [online] Available from: www. oxfordartonline.com Vit., A. (2009) Graphic design, referenced: a visual guide to the language, applications, and history of graphic design.

Beverly, Mass.: Rockport Publishers Scher, P. (2002) Make it bigger, New York, N. Y. Princeton Architectural Press Scher, P. (2008) Great design is serious, not solemn, TED. [Online video]. May 7th. Available at: www.ted.com/talks/paula_scher_ gets_serious Meggs, S. & Purvis, A. (2011) Meggs’ History of Graphic Design.

5th Ed. New York: John Willey & Sons Whalters, J. (2010) ‘Reputations: Paula Scher’. Eye Magazine.

Available at: www.eyemagazine.com/feature/article/reputations-paula-scher

STEFAN SAGMEISTER Heller, S. (2013) AIGA (2017) Stefan Sagmeister. Available at: http:// www.aiga.org/medalist-stefan sagmeister/ MAK (2017) The Happy Show. Available at http://www.mak.at/ jart/prj3/mak-resp/main.jart?reserve-mode=active&rel=en&content-id=1343388632770&article_id=1419779770306&event_ id=1421423929000 Sagmeister & Walsh (2017)About.Available at http://sagmeisterwalsh.com/about/

ILLUSTRATIONS

COPYRIGHT

The Museum of Modern Art. (2017). Herbert Bayer. Dessau, Deutschland, alte Kultur, neue Arbeitsstätten. 1926 | MoMA. [online] Available at: https://www.moma.org/collection/ works/7375?locale=en

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Sretenovic, G. (2016). Herbert Bayer’s Universal Alphabet (1925). [online] Widewalls. Available at: https://www.widewalls.ch/ bauhaus-typography/herbert-bayer/ Humbert, M. (2013). [online] Design Daily. Available at: https:// www.designer-daily.com/this-week-on-pinterest-79-38215 Schützt das Kind (1953) [Online Image] Available at: http:// www.artnet.com/artists/josef-müller-brockmann/schütztdas-kind-Y2U4G2eT10Z8a4fCp_tMqg2

Gilliland, A. and Hooker, D. (2012). What is fair use?. [video] Available at: https://www.youtube.com/watch?v=sweJKJdqauM [Accessed 23 Oct. 2017].

Markgraf, B. (2017). Why Are Copyright Laws Important?. [online] Smallbusiness.chron.com. Available at: http://smallbusiness. chron.com/copyright-laws-important-52601.html Momoh, O. (2017). Copyright. [online] Investopedia. Available at: http://www.investopedia.com/terms/c/copyright.asp Kattwinkel, L. J. (2007) Copyright Basics for Graphic Designers [online]. Available at: www.aiga.org/copyright-basics-for-graphic-designers

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Marshall, L. & Meachem, L. (201O) How to Use Images. London: Laurence King Publishing

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Lupton, E. (2010) Thinking with Type. 2nd Ed. New York: Princeton Architectural Press

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[Online Image] Available at: http://sagmeisterwalsh.com/_ image/2600x/f9e1fc54827667adbc6d98f8ac208de7.jpg [Accessed 8 November 2017] Sagmeister & Walsh (2017) CD Packaging for David Byrne and Brian Eno. [Online Image] Available at: http://sagmeisterwalsh. com/_image/2600x/4d08e3aeb0a87a005b1070dc58d78a27. jpg [Accessed 8 November] Design Filadelphia (2014) Paula Scher (Rescheduled). [Online Image] Available at: http://2014.designphiladelphia.org/events/ paula_scher [Accessed 9 November] Pentagram (n.d.) Poster for Bring in ‘Da Noise, Bring in ‘Da Funk from 1995. [Online Image] Available at: https://www. pentagram.com/work/the-public-theater [Accessed 9 November] This Works (2017) Paula Scher: Tsunami, 2006. 92" X 113.5".

Acrylic On Canvas. [Online Image] Available at: https:// wetransfer.com/thisworks/2017/03/16/paula-scher-maps [Accessed 9 November] Published Art Bookshop (2010) Left, Right, Up, Down: New Directions In Signage And Wayfinding. [Online image] Available at: http://www.publishedart.com.au/bookshop.html?book_ id=7027 [Accessed 9 November]

DACS (2017) Frequently Asked Questions. Available at: https://www.dacs.org.uk/knowledge-base/frequently-asked-questions Designer’s Guide to Creative Commons (2017) [online] Available at: https://www.godaddy.com/garage/designers-guide-to-creative-commons/ Copyright & Design Right: An Introduction And Practicalities For Designers & Designer Makers (2012) [online] Available at: http://www.thedesigntrust.co.uk/design-right-and-copy-rightfor-designers-and-designer-makers/ Copyrightservice.co.uk. (2004). [online] Available at: https:// www.copyrightservice.co.uk/copyright/uk_law_summary

issuu.com/