Tactile Type EXHIBITION DOMINIQUE FALLA MARICOR MARICAR
Tactile Type EXHIBITION DOMINIQUE FALLA MARICOR MARICAR
9 INTRODUCTION 11 D O M I N I Q U E FA L L A 13 L E T T E R I N G L E G E N D 15 Q & A
18 G O O D B Y E H E L V E T I C A
22 D R U N K O N L E T T E R I N G
25 TA C T I L E T Y P O G R A P H E R 28 WA L L F L O W E R
31 M A R I C O R & M A R I C A R 33 A I M T O M I S B E H AV E 35 Q & A
39 E P I C B AT T L E S
43 B E H I N D T H E S T I T C H E S 46 D E S K T O P
48 A R T I S T S ’ P L AY G R O U N D
51 B I B L I O G R A P H Y
INTRODUCTION
In today’s society, we see a lot of technological
design. These women are Tactile Typographers.
advances. This includes computer made art and
Their work mainly focuses on making design and
design. While all of the advances comes with
typography that you can feel. Both have found a
great benefits, sometimes it creates a separation
unique way to show typography, that is not just the
between the designers and their work. The way
mainstream simple, hand-drawn calligraphy or the
the professions design industry is set up makes it
computer vectorized typography. While they both
so a designer could never have to touch their work
are cutting edge, they both have a single thread
before completion if they choose to. But because
in common, literally. Maricor/Maricar and Domi-
of all the computer based design that everyone
nique Falla tend to have most of their work include
sees on a daily basis, it makes hand made design
thread. Whether it’s physically embroidering their
that much more impressive. When you have the
typography and calligraphy, like Maricor and Mari-
ability to touch a piece of work and are actually able
car, or blowing the up the scale of your work and
to feel the design, it connects the viewer with the
using around 700 nails/tacks and string,
piece and the designer. Tactile design is making a
like Dominique.
comeback, and it’s incorporating typography.
These women are bringing back a style of work that
Michael Kors once said “The biggest lesson that
used to be popular and used to be the industry
I’ve learned is that fashion is this tightrope where
standard, in a way. But they are bringing it into the
you have to be consistent but inconsistent. You
today’s society and re-introducing it with their own
need the connective thread but at the same time
individual twists. There was a time before comput-
you need a sense of surprise.” The same could be
ers were invented, and there was a time that graph-
said about designers and their work. Working in a
ic design was done by hand. Making people look at
creative field, you are looked upon to be the cutting
work that potentially could have been done without
edge in the industry, which is not always easy to
a computer, really makes people think and creates a
do. Luckily these women have done just that.
conversation. Do we really need all this technology
Dominique Falla and the twin duo of Maricor and
to make interesting design and typography?
Maricar, are using hand made typography and INTRODUCTION
9
DOMINIQUE FA L L A
Australian-based author and artist Dominique Falla is best known for her tactile typography — her unique method of creating type through overlapping intersections of simple thread. Both simple and complex, her work has featured on the cover of New York Times bestsellers, Wired, and Google. She is “passionate about sharing ideas. [She has] lectured at university for 16 years and given many conference presentations on the topics of [her] work and creativity fitness.” She has “published seven books on design and typography and [she] blogs regularly. [Her] current book project is on the topic of creativity fitness and will be published
“ H i there. I am a Speaker, Author, and Typographer.”
next year.” Her “doctoral research into tactile typography began in 2009 and has spawned many commissions and international installations. [She] hope this continues into the future.”
DOMINIQUE FALLA
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HOW HAS LOVE CHANGED YOU? Size 120cm x 90cm each piece
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Materials String and Nails
DOMINIQUE FALLA
LETTERING LEGEND BY TAM LOVE
It’s somehow already that time again to bring you a new ‘Lettering Legend’. This months ‘Lettering Legend’ is Dominique Falla. A significant person from the lettering community, that has inspired those around her and those worldwide. If you’re not sure what a ‘Lettering Legend’ is, or what the requirements are, you can catch up here. Last month I interviewed Scott Biersack and he provided some very helpful information. This month is no different, I interviewed Dominique Falla and she had lots of interesting things to say. Dominique lives in Australia and has an educational and professional lettering background. When creating different types of lettering work she uses a wide range of materials, including chalk, card, nails and thread. Not only has Dominique inspired with her own lettering work, but she also founded the Typism Books, which I’m sure many of you will have heard of. Two of
“The books are filled with lettering goodness.”
our ‘Lettering Legends’ Emma Holmes and Belinda Love Lee have both been published within the Typism Book series. The books are filled with lettering goodness.
If you had to choose only one lettering medium to work with from now onwards, what would it be and why? “I love tactile typography because I get bored easily and so it is fun to play with different materials. You founded the Typism book. For those that haven’t come across it before, could you describe what the Typism book is? “The Typism Book is a little pocket book of some of the best black and white typography, custom type, calligraphy and hand lettering in the world. There are two so far. Book one sold out and Book two is close to selling out. I have two boxes left.” What led you to starting the Typism book, and how did you go about selecting the work that has been included in the books? “I first off had the idea to run a small typography conference in Australia and the book idea grew out of that. For people around the world who couldn’t make it to the conference, they could still be a part of Typism.”
RAINBOW ROO
You have quite an extensive background in design. Including a Degree, a Masters, a lot of work experience, awards and scholarships.
Size 160cm x 120cm
Do you think a professional creative background is necessary if a person is wanting to succeed in a career around lettering?
Materials String and Nails, Viponds Silver Paint & Fiberglass Roo
“No, not at all. My degrees are for my work as a university lecturer. All that matters if you want a career around lettering is to practice, practice, practice. Become really good at what you do, show people what you are doing on social media and never stop improving your craft, then you will have a successful career around lettering.”
What has been your favorite collaboration to work on? “I love collaborating with my husband on larger projects. We have traveled a little bit recently to work on installations. He is very strong, so he is a great help when it comes to hammering 7000 nails in three days for Google for example. We also get to travel together and be creative, so he is my favorite collaborator, but I love working with the clients and design firms as well. I’m always surprised by the creative projects people offer us. They have a better vision for my work than I do sometimes.” DOMINIQUE FALLA
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SUPERCALILETTERPRESS Size 30cm x 20cm Materials: Letterpress Print
Is it best to be comfortable at lots of different styles of lettering or develop your own style? “Personally, I think try lots of different styles at the start so that you are sure you have tried everything and then the trick is to develop your own unique version of something. You will never be better at Gothic Black-letter than the medieval scribes, you will never be better at roman capitals than Roman
What advice or tips would you give those first
stone carvers, so don’t even try. Become the best in
starting out at lettering?
the world at your particular style or interpretation, which is usually a combination of styles. Your goal is to try everything in order to become good at one thing.”
“...it is better to show progress, not perfection. There is no such thing.”
“Get a note book and a pencil. Carry it with you at all times. Spend every spare minute sketching, drawing, doodling. Practice makes Progress. You should also
get an Instagram account and vow to post something every day. The cheer squad you will build up over time gives you the confidence to keep going. The mistake most people make is to not share anything until they are “good enough”. These days, social media is the best way to build an audience and it is better to show progress, not perfection. There is no such thing. Start today and practice every day.”
DOMINIQUE FALLA
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G O O D BY E H E L V E T I C A In 2010, I made a foolish and public declaration that I would devote myself for a whole year to one typeface and one typeface only—Helvetica. I hastily added a caveat that if I was working for a client, I would work within their existing branding and would be exempt from using Helvetica in these cases, but boldly declared that every other piece of written communication designed for my own purposes would be set only in the dreaded, boring and ubiquitous Helvetica. This declaration was met with cries of disbelief from my friends and co-workers, all fellow graphic designers. “How could I be creative if I had to use that awful typeface?” “How could I possibly express myself with something so … so … common?” “A whole year? It’s impossible”. I found their responses fascinating, and entirely predictable. I would be responding in much the same way, were I in their shoes, but the reasons I made this declaration were twofold: firstly, I had just seen Gary Hustwit‘s excellent documentary ‘Helvetica’ and was convinced by ‘Build’ designer Michael C. Place’s self-initiated challenge to “make something beautiful out of something ordinary”, (which he was apparently doing very well) and secondly, I had become tired of the typographic elitism that was settling in amongst my peers over which font you should use, what was cool and what was not, and I thought it would be such a relief not to have to engage in such discussions for a while.
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DOMINIQUE FALLA
I am pleased to say, the year has gone remarkably well. I think it was one of the best ‘foolish’ decisions I have ever made and the tactile typography pieces that emerged from the project have given me enormous enjoyment and satisfaction. Looking back over the year, I will admit that the relationship wasn’t perfect—there were times throughout when I wasn’t entirely faithful. I strayed once or twice, usually to the subtle curves of Museo, or Bebas when I needed something sleek and skinny, but for the most part, Helvetica served my needs admirably, and we made some beautiful visual music together. And so, the year is up and the time has come to say goodbye to Helvetica.
GOODBYE HELVETICA Size 120cm x 90cm Materials Chalk
This installation marks the cathartic end of a wonderful yearlong relationship that has been rewarding and productive. The relief of not facing an arduous decision-making process every time I turn on a computer has been delightful and I am sure has saved me many hours of my life. I have also really enjoyed proving to myself, and everyone else, how beautiful this cold and emotionless typeface can be if it is treated with some love, care and attention. Goodbye Helvetica. It’s been fun.
DRUNK ON LETTERING Size 30cm x 20cm
DRUNK ON LETTERING I was recently interviewed by Roxy Prima and Phoebe Cornog for their hilarious podcast Drunk on Lettering. The main thrust of the podcast is that everyone is drunk during the conversation—interviewers and interviewee. Apologies in advance if I offend anyone, but it was all a bit of a blur. I remember rambling about beard oil and how much I love Jason Momoa and Nick Misani. I’m sure I’ll be cringing when it’s released. My poison of choice is usually bourbon whiskey and a proviso of being on the podcast involves creating a piece of lettering to accompany it, so I created this fake whiskey label from cut paper and gold paint.
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DOMINIQUE FALLA
Materials Cut Paper, Gold Paint, & White Ink
TACTILE ALPHABET Size 28cm x 28cm each Materials Assorted Techniques
“CRAFTY KID” TYPOGRAPHER Dominique Falla is a designer and illustrator who
The piece was created with tiny nails and wound
spends her time between Brisbane and Byron Bay
cotton during Dominique’s ‘Year of Helvetica’ (to
in Australia. When I first saw her typographic poster “We are all a part of the same thing”, I was instant-
prove a point, she committed herself to using the ubiquitous font exclusively for 12 months); a period
ly captivated by the ‘woven’ inscription and after
that ended last month with a ‘Goodbye Helvetica’
writing about it I realized I wasn’t the only person
exhibition. She’s now “kicking up her heels with joy”
to be enamored; it received the most ‘likes’ and
at the freedom of being able to use and draw any
’re-blogs’ of any Type Worship post; nearly 22,000
type she likes.
and counting!
I recently had the opportunity to ask Dominique
“I’ve also renovated two houses with my husband
about her unique typographic approach of bringing
so I’m pretty bloody handy with a hammer as
words and images together in a way you can feel.
well now.”
After illustrating for 20 years, hand-drawing type
This taps into a resurgence of interest in hand-craft-
comes naturally to her: “I don’t think I could ever
ed skills among designers and illustrators of my
be bothered scrolling through hundreds of typefac-
generation, which has prompted an evolution of
es on my computer anymore. It’s just easier for me
manual image making using media like letterpress,
to get out the sketch book. I also think typography
screen printing and darkroom photography. These
is a passion that once you develop it, it becomes
relegate the use of computers to simply draft, com-
an obsession. I have that obsession now but when I
posite and publish.
was a student, I hated type. I just didn’t understand it, but something clicked along the way and now it’s all I want to use in my work.”
“The tactile thing came about because I’m just hankering for a lost age where design was felt as well as seen. Now everyone just looks at computer
She was always a “crafty kid” and as an only child,
screens and I enjoy it when people get so excited
had to entertain herself. “I remember long hours of
about touching my work.”
sewing, knitting, crochet, and macramé projects as a ten year old. When I hit 15, I started getting more interested in drawing and painting, and let the craft go, but obviously the skills have remained.
DOMINIQUE FALLA
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As part of her current doctorate studies on the subject of Tactile Typography her research is exploring why people respond so positively to type that you can touch, play with and sit on etc. Yet completely ignore a piece of vernacular typography, such as a road sign. It asks the question “At what point does the typography stop communicating language and instruction and start becoming “art”? This inevitably opens up a world of different mediums for Dominique’s style of work: “I get bored very easily, and I also think if there’s a concept behind what the piece is saying, the way it says it should also reinforce the concept. My thought process usually goes “what am I trying to say?” and then once I devise a quote or statement, I try and work out if anything in the statement suggests a medium or technique. So far thankfully, it has.”
“ You don’t always know what you’re doing but you need to cultivate the energy to just keep going anyway”
Trying new things each time however doesn’t come without risk of failure: “Oh yes, I’ve had many false starts, pieces that didn’t quite work, pieces that needed fixing and so on. Sometimes they’re so bad that I’m forced to change my concept mid-project. I read somewhere it’s called ‘confusion endurance’. You don’t always know what you’re doing but you need to cultivate the energy to just keep going anyway.” I had read elsewhere about Dominique’s grit and determination to create her work despite uncomfortable conditions requiring protective equipment such as knee-pads and goggles: “The gaffer tape typography on the concrete floor of the ‘Goodbye Helvetica’ installation was definitely the most painful. I couldn’t walk properly for a couple of days. The 4.5m x 2.4m Goodbye Helvetica string and pin piece completed three meters up in the air on a scissor-lift was the scariest [Dominique doesn’t like heights] and I recently made a portrait of a man’s face out of 8100 squares of paper and that was the longest. I don’t think I will be doing another
WE HEART NUMBERS Size 30cm x 30cm Materials Assorted Buttons
large-scale paper mosaic any time soon. I have a lot of patience for tedium, much more than anyone I know, but boy did that test it.”
WALLFLOWERS Size 240cm x 90cm Materials Paper
WA L L F L O W E R S The We Heart collective were asked to participate in a pop-up gallery for the Surfers Paradise One Way Festival, so 13 of us decided to spell out the words WE HEART ONE WAY and I chose the Y on the end. I made loads of paper wallflowers out of recycled paper, junk mail and brochures and attached them to a large blue letter. Everybody made their letter out of the same size and typeface (DIN) and there was a vague blue color scheme holding it all together, but other than that, the girls went crazy and made a great mish-mash of styles which worked really well together. The piece was up during the festival for one day only.
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DOMINIQUE FALLA
MARICOR MARICAR
Maricor/Maricar is a twin sized studio specializing in hand embroidered illustration and lettering for publishing and advertising. They also direct for stop motion animation, hand craft props and design custom lettering in a variety of mediums. Sydney based design duo Maricor/Maricar are sisters Maricor and Maricar Manalo. They describe themselves as ‘makers of things’ combining typography, illustration and intricate hand embroidery to create their playful work. Since establishing their design studio in 2010 they have worked with clients including Wired Magazine UK, Esquire Magazine UK, ESPN Magazine, British Council Australia, Hong Kong
“ M aricor/Maricar is a family business built stitch by stitch.”
Airport, TOMS Shoes and GOOD Magazine. Playful and geometric, tactile and dynamic, hand-embroidered work by Australian twin sisters Maricor and Maricar is vibrant, unexpected, and steeped in sass. Maricor/Maricar is a family business built stitch by stitch, letter by letter, and their static work bursts with color that has attracted advertising and publishing clients from around the world.
MARICOR MARICAR
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AIM TO MISBEHAVE Size 29.7cm x 29.7cm Materials Hand embroidered with cotton thread on cotton fabric
A I M T O M I S B E H AV E Embroidered quote created for Pick Me Up London 2013 Selects. Hand embroidered with cotton thread on cotton fabric, 42 x 42cm with hand rolled edges. Original artwork and square format giclée prints (approx 29.7 x 29.7cm) available in our online store. Based on a quote from Joss Whedon’s Captain Mal in “Serenity.”
MARICOR MARICAR
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Inspiration comes from…? We enjoy experimenting with
What’s the design and illustration scene like in Australia?
new techniques and textile ef-
Unfortunately the market in
fects. We get a little bored doing
Australia is a lot smaller for illus-
the same style of graphic, so
tration in general, and the market
we’re always keen to see how we
for embroidered graphics even
can push embroidery and our let-
narrower. We find that we get
tering style into different forms. It’s inspiring to see how much amazing work is being done by other artists, which makes us want to develop our own work. I also find that coffee-and-biscuit breaks, puttering in the garden for some fresh air, and cuddles with my daughter are great motivators.
most of our work from overseas, and it’s been wonderful having agents based both here and in the UK, who have great ties with clients in the United States.
“ We’re always keen to see how we can push embroidery and our lettering style into different forms.”
DENIM DIARIES Size Seventeen Magazine Materials Hand embroidered custom lettering
Let’s start at the beginning, with your names.
Where did the interest in embroidery come from?
We get asked about our names a lot—whether
We had our first taste of embroidery working
they’re our real names. Our family is originally from
on an animated music video for Australian band
the Philippines. We moved to Australia when Mari-
Architecture in Helsinki, but it wasn’t until we left
cor and I were two years old. We have an older sis-
Mathematics to focus on Maricor/Maricar that we
ter who has a pretty similar name
really thought about embroidery
as well, but our parents didn’t
as a something we could do full-
foresee how confusing it would
time. Winning a grant to travel
be for twins to have names that
and work in the UK through the
were identical, bar one letter. How did you end up working together? We grew up basically joined at the hip. We studied at the same primary school, high school, and university course, which was a design degree in visual communications. The course was very broad, which inspired our varied interests across lettering, illustration, and animation. After graduating, it took us a while to find our feet professionally. When we started working together at Sydney design studio Mathematics, we really felt we had found what we wanted to do as designers. We worked there for nearly three years, creating print, web, and animation work primarily for clients in the music industry.
British Council Australia was the catalyst for getting us to take it seriously. We had such a great response showing our personal embroidered experiments to the judges, who gave us a grant that enabled us to live and work in the UK for nine months. While there, we signed with our first illustration agents Handsome Frank, and that was that. We haven’t looked back. It was really that first embroidery project for the music video that showed us what a lovely tactile and quirky medium it is, and how very warm and personal. There’s so much detail you can achieve, and the ability to layer color is really exciting. We describe it as painting with thread.
DON’T WORRY IT’S ALL FUCKED Size 29.7cm x 29.7cm Materials Hand embroidered with cotton thread on cotton fabric
Let’s talk process. How does it work for you two? Being twins, we’re used to working together closely on projects, usually quite seamlessly. Practically speaking, for larger embroideries we’ll both have a hand in the embroidery to give each other breaks from the physical strain of hand embroidery. And for some particularly tough deadlines, we’ll actually both work on the piece if space permits. Luckily, we haven’t stabbed each other by accident yet. Conceptually, we’ll
“ B eing twins, we’re used to working together closely on projects, usually quite seamlessly.”
usually both be involved in the early stages of a project and work up concepts. Depending on how the client’s
feedback goes, one or the other will take the lead and direct the remainder of the project. MARICOR MARICAR
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OUR ONGOING SERIES OF
&
TONGUE CHEEK BATTLES
E P I C B AT T L E # 1 Gnome vs Dragon. An old artwork we started a few years back and finally got around to finishing this year.
EPIC BATTLES Embroidery series
MARICOR MARICAR
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E P I C B AT T L E # 2 Lucha vs Ginga Ninja (you’re too tasty for your own good). Our latest battle is a private commission dedicated to Black Star Pastry’s famous Ginger Ninjas.
E P I C B AT T L E # 3 Egg vs Baked beans (it’s not always sunny, sunny side up. Embroidered illustration for Pick Me Up London 2013 Selects. Original artwork and giclée prints available in our online store.
E P I C B AT T L E # 4 Prick vs Wieners. Embroidered illustration for Pick Me Up London 2013 Selects. Giclee posters available from our online store.
E P I C B AT T L E # 5 Corn Cobbed: Embroidered illustration for Pick Me Up London 2013 Selects. Giclée prints available in our online store.
E P I C B AT T L E # 6 Doughnut vs Banana (split). Embroidered illustration for Pick Me Up London 2013 Selects. Original artwork and giclĂŠe prints available in our online store.
MARICOR MARICAR
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HAUSFRAU Embroidered wraparound cover for Jill Esbaum’s debut novel “Hausfrau”. Published through Pan Macmillan UK.
BEHIND THE STITCHES BY BRIDGET DE MAINE
Meet the self-taught sisters who built their own
taught talents (they learned their embroidery skills
creative studio.
on YouTube!) specializes in intricate, elaborate hand
Have you noticed how being crafty is suddenly
embroidery with a twist.
cool? It’s not just because a few of us here at
Their first introduction to embroidery was during
Collective Hub have taken up the art of pottery
their time at creative studio Mathematics, where
recently – it’s a seemingly worldwide return to phys-
they stitched a stop-motion film clip in 2008 for
ical things, to actual objects, to time spent carefully
Australian band Architecture in Helsinki which
weaving, creating, crafting. It’s a movement that
featured their complex threads dancing around
somehow counters the influx of things virtual and
the screen as small band members.
intangible and needless to say, we’re on board.
“The animated embroidery project was definitely
And while we’d like to call ourselves trend-setters,
an intense way to be introduced to embroidery...
we think creative duo Maricor and Maricar Manolo
We’ve never taken any formal classes but have
have a sounder claim to that fame.
been lucky to have YouTube as a great resource
The Philippine-born, Sydney-based sisters were always inseparable, even before they went out on their own with their creative studio Maricor/Maricar in 2010. They both played at building cardboard box houses as kids, then studied the same Visual Communications degree at UTS Sydney but then diverged at work, finally coming back together to build their creative studio that, among other self-
as well as a few very comprehensive embroidery books along the way. When we start a project that requires a more technical approach… it’s much the same as when we first started. We research the techniques we’ll need to learn on the internet, source some good books and then produce a few tests for practice and to show the client before tackling the final embroidery.”
MARICOR MARICAR
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LAND OF NOD Size Catalogue cover
After a hiatus from the “back-breaking” efforts of their first piece of nifty needlework, the pair have
Materials Hand embroidered using cotton floss on linen fabric
been involved in a slew of stunning hand-stitched pieces, among other projects in illustration and graphics. Not a pair to rest on their creative laurels though, the sisters have now also navigated new territory in the form of a creative collaboration with Australian brand Marcs, which launched this week. “Our collaboration with Marcs was very serendipitous. Maricor and I have been wanting to develop graphics for surface patterns and textiles for a while and had experimented with some new techniques around the time an email from Marcs came out of the blue,” she explains. “They were keen to collaborate on a small collection showcasing Australian makers and artists and we said for sure! They had a very open brief, which was to celebrate summer. They were drawn to our playful phrases and use of color but beyond that we had freedom to work in our style.” The result is the bright, cheeky Marcs x Maricor/ Maricar summer collection: a riot of inventive design, color and texture, perfectly mirroring the spirited stitches and splashes of unexpected shades
For the duo, choosing the right company to work with is integral to being able to produce a piece that both nurtures and pushes the creative possibilities that little bit further. “The projects we find the most satisfying are ones where we’re encouraged to be ambitious and experimental,” Maricar explains. “The projects where we can be a little cheeky and inject a bit of light hearted fun and humor.” When Marcs approached us for the collaboration, they made us feel
of their creators, making each piece look as though
very comfortable that we could create in our own voice. They liked the
it’s jumped straight off the canvas of a cheeky,
sense of humor we often have in our phrases and wanted us to just go
whimsical artist.
nuts with whatever graphics we wanted to propose.
“That is the dream brief and imagining seeing our graphics on actual clothes and knowing the Marcs brand and the quality of their clothes we were an immediate yes.” And while the decision to partner with the fashion label was immediate, the project, like many of their others took a little longer. “Typically, three weeks is the fastest we can turn around a small artwork,” Maricor says of their embroidered pieces. “Larger pieces can take up to two months to complete, but it really depends on how intricate and detailed the design is as sometimes smaller more complex and colorful designs might take just as long to complete as larger simpler designs.” While Maricar bestows her sister with the label of the more ‘pragmatic, balanced’ sibling, Maricor says her business partner is the “storyteller” and “writer” of the group. “We have a shorthand way of communicating with each other which comes from having a lot of shared experiences and perspectives on things so that usually helps when we tackle a brief,” Maricar explains. “On the flip side, when we do disagree it’s a big shock and we can argue endlessly over something because each of us is adamant that we are right.”
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MARICOR MARICAR
DESKTOP Size Magazine Materials Cotton Thread 150gsm paper
DESKTOP Cover artwork Cover illustration for Desktop magazine’s Neue Folk issue. We embroidered on paper for this graphic exploration into analogue glitch. The issue also includes a feature on our work. Hand stitched with cotton thread on 150gsm paper
A R T I S T S ’ P L AY G R O U N D
For Art Month Sydney, creative agency The Artistry commissioned an original artwork to hang in the Incu Mens store at The Galleries. At 1 meter in diameter “Where Is My Mind” is our largest hand embroidered piece to date and combines cotton thread, wool yarn and acrylic paint.
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MARICOR MARICAR
ARTISTS’ PLAYGROUND Size 1m x 1m Materials Cotton Thread, Wool, Yarn and Acrylic Paint
BIBLIOGRAPHY 10153661251002790. “Dominique Falla, Tactile Typographer – ART + Marketing.” ART + Marketing, ART + Marketing, 23 May 2017, artplusmarketing.com/dominique-falla tactile-typographer-9028e3348bf8. “Dominique Falla: Speaker, Author, Tactile Typographer.” { Dominique Falla }, www.dominiquefalla.com/. info@fiascodesign.co.uk, Fiasco Design -. “In Focus: Maricor/Maricar on Tactile Illustration • Inky goodness.” Inkygoodness, inkygoodness. com/features/focus-maricor-maricar-tactile illustration/.
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Maine, Bridget de. “Behind the Stitches with Maricor/Maricar.” Collective Hub, Collective Hub, 28 Oct. 2016, collectivehub.com/2016/ 10/behind-the-stitches-with-maricormaricar the-self-taught-sisters-who-built-their-own creative-studio/. “Maricor and Maricar Manalo.” The Design Files | Australia’s Most Popular Design Blog., 19 Nov. 2014, thedesignfiles.net/2012/08/ interview-maricor-and-maricar-manalo/. “Maricor/Maricar: Go Play.” TextileArtist.org, 24 July 2014, www.textileartist.org/maricor maricar-go-play/.
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