Collaborative Group eBooklet - Practitioner Analysis (Forum 1). Stephanie Griffin. by Steffi Griffin

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DESIGN IN PRACTICE CREATED BY: JOY ELSMORE, STEPHANIE GRIFFIN, FRANCES HAMBLING & ALEXANDER MOORE

DAVID AIREY D

avid Airey is a contemporary graphic designer from Ireland, who creates inspirational logos and brand identities. Well-established in his practice, he is the author of three blogging sites and two books: ‘Logo Design Love’ (Airey, 2015) and ‘Work for Money, Design for Love’ (Airey, 2013). BY STEPHANIE GRIFFIN

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CONTENTS 01

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DESIGNER NAME L

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EMILY HOGARTH E

m ily Hogarth is a designer and illustrator who creates intricate paper cut artworks, screen prints and digital illustrations. Hogarthâ&#x20AC;&#x2122;s work weaves together stories, memories, flora and fauna to create unique designs full of handmade charm. As well as creating personal commissions, Hogarth has worked with commercial clients such as Cadburys and Nivea.

BY JOY ELSMORE

MINALIMA M

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iraphora Mina and Eduardo Lima met in 2001 and went on to form the MinaLima design studio. Together, they are responsible for the striking visual identity of the Harry Potter films. Other projects include book cover designs for Harper Collins and the graphics for Fantastic Beats and Where To Find Them.

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BY FRANCES HAMBLING

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DAVID AIREY

BY STEPHANIE GRIFFIN

espite designing multiple brand identities, David Airey’s work communicates a unified appearance of notable simplicity with direct and meaningful stories. His minimalist style and identifiable typefaces generate unique, sharp, translatable and relevant creations. With or without a logo, his designs are recognisable and fully versatile, focusing on a one-idea concept for instant audience interpretation and a brand identity that lasts. Purposefully avoiding trends, he focuses on a limited colour palette, often utilising wordmarks or simplified symbols (a distinctive quality of modern logo designs). I am inspired by his handrendered typefaces, each holding their own style in a unified digitalised appearance. In his book, ‘Logo Design Love’ (Airey, 2015), Airey discusses his clear and concise process for design projects. He works

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“We create our best work when we’re in a positive frame of mind” - David Airey (2014)

closely with clients to create initial briefs and fully establishes their expectations to achieve a cohesive project and full brand identity. Initially, he researches his client’s business, consumers and competition to identify unique opportunities, progressing onto lateral thinking to generate 30-second symbol and sketch drawings and “stopping, letting the subconscious pick up some of the load” (Airey, 2017). During this he applies multiple key principles including: initial black and white colour palette to remove distraction from the fundamental idea; adding colour and typefaces as secondary additions; and working to a 1-inch size to make sure logos have clarity across collateral. Most identifiable to me is Airey’s key work principles to create inspirational, minimalist designs that are applicable globally. His work for Le Flow (figure 9.) communicates a clear, impactful brand character that is universally interpretable. As a designer creating for clients globally in the travel industry, I relate to his design’s ability to engage with multi-cultural audiences as well as his design process, from which I have learnt important client communication techniques. Although his work is predominantly benign and does not approach political issues, it is important in bringing widely acknowledged brand

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Figure 9.

value to companies and requires indepth audience and culture awareness. I admire his digitally hand-rendered designs, with hopes to bring this into my own work, to transform traditional patterns and typefaces into clean-lined, modern adaptations that have the ability to last.

In Airey’s work, there are many insightful and transferable ideas I can use to inform my own practice, applicable to my self-branded image and that of my clients. I shall adopt his engaging use of pencil and his keyword symbol mind-maps to generate inspiration and freely express ideas. In addition, he has motivated me to look for uniqueness in my ideas by carefully conducting and analysing client and competitor research. However, it is his application of a 30-second rule and focus on a oneidea solution, to keep ideas simple and identify with the consumer in a glance, which will heighten my own achievement as a brand designer. By utilising this technique and using his black and white colour scheme during initial concept communication, I will be able to generate focused ideas and provide coherent and on-time project management.

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opyright law is applicable to all creative practices in protecting the work of the author and their rights around distribution and usage (Kattwinkle, 2007). These rights last the lifetime of the author plus 70 years (DACS, 2017), and apply to a ‘fixed form of expression’ identified as physical or digital interpretations, with the exception of work ‘made for hire’ (Kattwinkle, 2007). This applies to my own practice and states I would have no rights under an employer and limited rights as a sub-contractor or as part of a team. In his book ‘Logo Design Love’ (Airey, 2015), Airey communicates the importance of setting out terms within the client contract to obtain ‘right to show’ in a portfolio, especially as brand design often transfers all rights to the client. As a designer, it is important to establish terms with the client under copyright law. Within this, rights can be sub-sectioned into: reproduce, display and adapt, all of which can either be lent or sold (Kattwinkel, 2007). Occasionally, breaking down each section more precisely can be appropriate e.g. distribution online but not for print. As a designer, establishing copyright terms is important and the level of rights given to the client should be reflected in the price. Redistribution and amendment intentions should be considered and copyright terms should identify any future limitations they impose on the author e.g. limitation to distribute to potential clients. In the UK, Intellectual Property (IP) is another copyright term used and applies in the same principle as copyright law. IP can be applied when a work can be valued, sold, given, donated or rented (The Design Trust, 2017), and covers different forms (University of Huddersfield, 2015): patents (technical or functional elements),

designs (registered and unregistered) and trademarks (graphic representation of a sign e.g. a logo). Within this, different rights are covered and it is important to consider protecting these in the design practice. These are: moral rights (protection of my reputation), paternity rights (protection as the recognised owner) and integrity rights (protection against unauthorised changes). In addition, design law specifically applies to the external aesthetics and visual appearance of the work. Within the EU community and the UK, I have the choice to apply for registered design rights or accept the instant protection of unregistered design rights. Unregistered rights (covering 3-15 years) is less expensive and only applies to new and unique designs. Registered design rights (25 years +) is more expensive but protects the work for longer, and covers substantially similar designs as well as copying. Copyright infringement, a term used when a work is commercially exploited or copied without the owner’s permission, only applies when intentionally duplicated directly or the ‘artistic expression’ (such as brush stroke, medium etc.) is clearly copied, used outside of its agreed license or considered substantially similar (Kattwinkel, 2007). Redmans Solicitors (2012) states that the Copyright Patent and Design Act 1988 addresses primary (direct or indirect adaption, copy or public availability) and secondary infringement (full awareness to import, provide or possess infringed copies) . When imposing these, there are instances where copying is considered acceptable in terms of ‘fair use’, which allows for non-commercial, educational or ‘transformative’ usage (Kattwinkle, 2007).

DESIGNER NAME

BY ALEXANDER MOORE

05 I

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EMILY HOGARTH

BY JOY ELSMORE

mily Hogarth is a freelance designer and illustrator best known for her paper cut artwork and illustrations. Her work includes commissions telling detailed stories and screen prints capturing “the magic of the Scottish landscape and its wildlife” (The Red Door Gallery, n.d) (e.g. figure 13). She also does commercial work, designing illustrations and artwork for book covers and packaging, having created pieces for small publishers and large corporations alike. Hogarth has a motto: ‘making the everyday magical’; “a way of looking around us and finding the beauty in everyday objects and our everyday surroundings” (Hogarth, 2016). Hogarth’s design process varies depending on the work she is creating. Paper cut commissions (e.g. figure 12) are designed with the client’s stories,

Figure 12.

“You have to want to create something beautiful and not be afraid to experiment” - Emily Hogarth (2016)

significant events or dates in mind. “I usually would sketch out where I think names would be placed and make sure to leave ‘free’ space to fill in details. Then I just start [cutting]” (Hogarth, 2017). Meanwhile, her digital illustrations (e.g. figure 16) use the same artistic style but are sketched out in pencil then illustrated in Adobe Photoshop or Illustrator. Screen prints usually start off as a paper cut design (e.g. figure 14). “I would again digitise the artwork – so the original paper cut doesn’t get damaged at all. Then I would digitally add new colours” (Hogarth, 2017). She then creates stencils from these for the printing process, which she does by hand, creating limited edition print runs. I first discovered Emily Hogarth’s work when learning the art of paper cutting. I was drawn to the intricate details, use of positive and negative space and charming style of her works. I am a craftsperson by nature and enjoy combining crafts with digital skills in my design projects. Learning how Hogarth creates screen prints from her paper cuts and applies her signature style to digital as well as hand crafted designs is eye opening and exciting, as I feel these could be good options to explore to expand my current design style. I have a similar style of illustration to Hogarth in that we use similar subject

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Figure 14.

matter; including landscapes, florals, and swirls; in a similarly simplified style with inoffensive universal appeal. Her work is positive, playful, detailed and nostalgic at times but also fun - these are all aspects I admire and strive for in my own work. Neither my nor Hogarth’s work is political for the most part, yet the relatable handmade style of both our work could lend itself to mild political or activist messages.

I have learnt from Hogarth’s practice that, rather than creating boundaries, hand crafts can be scaled and amended to suit a variety of materials and mediums to communicate different messages. Hogarth (2013) says “you have to want to create something beautiful and not be afraid to experiment” - I must be open minded, creative in the development of my work and willing to listen to feedback. Hogarth’s work has also reinforced my view that artwork does not have to be perfectly refined to have charm - in fact, it is the imperfections that make it more appealing.

ov.uk (n.d) explains Intellectual Property (IP) as a unique output that one physically creates; ideas are not considered IP, but the physical representation of the idea, e.g. an illustration, is. Copyright is a type of automatic protection for certain IP, including art and photography. Gov.uk (n.d) explains that copyright prevents people from: copying your work; renting, distributing or lending copies of your work; making an adaption of it; or putting it online. To protect your work, you can mark it with the copyright symbol, your name and the year it was created. Although work not marked with this is still covered by copyright, this may dissuade unauthorised copying and help to show who the creator is if others wish to apply for a licence. A designer automatically owns the IP of an item if they created it, unless they were commissioned to create work as part of an employed role, in which case the company will own it. For artistic works, copyright usually lasts a minimum of the creator’s lifetime plus 50 years; for the creator to sell or transfer copyright they will need a written, signed document stating the details. Copyright can also be transferred by inheritance.

Figure 15.

If you discover someone using your IP without your permission solutions may include: agreeing a license, using mediation or seeking legal action from a solicitor or the Intellectual Property Office. To use someone else’s copyrighted works you must have their permission. If the copyright owner cannot be found you may be able to apply for an Orphan Works Licence in order to use it. If the copyright holder then discovers that

Figure 16.

their work has been licensed in this way, they can then claim the licence fee. Ways to Licence Work 1. Exclusive Use – the copyright owner cannot use or license the work to anyone else for a set time 2. Limited Use – there are specific limitations for when, where and how many times work can be used 3. Creative Commons (n.d.) specifies six types of Creative Commons licence: • Attribution (CC BY) - Others may use your work as long as they credit you • Attribution - Share Alike (CC BY-SA) - As above, but new creations made from the work must be licensed under CC BY-SA • Attribution - No Derivs (CC BYND) – Others may use the work but they must credit the creator and cannot change the work in any way. • Attribution - Non Commerical (CC BY-NC) - Others may amend your work for non-commercial use only. Work created in this way must also be non-commercial. • Attribution Non Commercial - No Derivs (CC BY-NC-ND) – Others may use your work non commercially only and can’t change it. 4. Implied Licence – there is no written or verbal agreement, but the circumstances suggest that the copyright owner expected you to use the material. Copyrighted artwork can also be used without a licence for non-commercial research, private study and teaching in educational establishments.

MINALIMA

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he MinaLima design team was formed in 2001 by Miraphora Mina and Eduardo Lima, following their first meeting when working on Harry Potter and the Chamber of Secrets. The duo went on to create all of the graphic design artwork for the film series. In 2009 the MinaLima Design Studio was officially founded. MinaLima have also created the graphic artwork for the latest instalment from JK Rowling’s Wizarding World: Fantastic Beasts and Where to Find Them. Further projects include book designs for Harper Collins and a series of illustrated prints inspired by collective nouns. Whatever the project, their work is always intended to tell a story and to encourage the audience to use their imaginations. They describe themselves as “a studio built on humour, inspired by positivity and

Figure 17.

“Humour, positivity and good common sense” - MinaLima (2017)

good common sense.” (MinaLima, 2017). MinaLima have described their working environment as being incredibly important to them. They fill their workspace with inspiring design and note that “the studio is like another member of the team” (ArtInsights Animation and FilmArt Online, 2012). Much of the work MinaLima create is a result of creative collaboration, and they often pass the same piece of work between them in order to create the final product. On the sets of the Harry Potter films they were required to work as part of a vast creative team, collaborating closely with production designer, Stuart Craig, and set decorator, Stephanie Macmillan. Their work therefore remained subject to the feedback of others. They were required to not only pitch and realise ideas, but also to rethink and rework them when necessary. Stuart Craig has explained “there’s no clear-cut way in which we work together; it’s more trial and error.” (Craig, 2010). While working on the iconic Harry Potter films, Mina and Lima designed everything from the Daily Prophet and Wizarding magazines to the Marauder’s Map and Hogwarts textbooks. They spent a total of seven months creating the packaging for an entire range of fantastical products to be sold by the teenage Weasley twins in

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Figure 19.

their shop. The packaging designs were intentionally crudely designed so as to give the appearance that they had been created by teenagers. Low quality paper was used for this purpose, and many designs were intentionally imperfectly printed (see figures 18 and 19). The designs feature unrefined illustrations and bold text in

garish, clashing colours. MinaLima also designed seven different covers for the quirky Quibbler magazine (figure 17). Like much of their work these designs feature a mix of bold pattern and vivid, clashing colours. The designers’ love for typography is also evident, with a varied combination of typefaces being used. As a design student, I admire MinaLima for their ability to create vividly beautiful, but still functional, designs. Although their designs are works of art in their own right, they also serve to tell a story. Even when undertaking huge projects the designers take a truly comprehensive approach to their designs. MinaLima use graphic design in order to immerse their audience in a whole new world. To do this they use a combination of bright colour, surprising juxtaposition and extreme attention to detail. This innate ability to blur the lines between fantasy and reality is what makes Miraphora Mina and Eduardo Lima so unique.

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Figure 21.

opyright law and intellectual property rights allow creators to “own the fruits of their creativity” (DACS, 2017). They provides artists and designers with the right to royalties, as well as the right to decide when and how their work may be used or reproduced by others. The copyright owner has exclusive rights to reproduction, distribution and rental. This covers copying and printing, as well as the display of work, both online and in film. Copyright law does not only cover art and design, but also extends to music, film, television, architecture and interior design, amongst other fields.

with the right to protest any derogatory treatment of their work. False Attribution rights provide artists with protection against false attribution of others work. Finally, the Right of Privacy protects anyone who has privately commissioned a photograph or film from copies being presented to the public. All moral rights belong to the creator of a work, and while they can be given up, they cannot be passed on or sold to another party. Moral rights do not always apply automatically. The Paternity Right, for example, must be ‘asserted’, and is often written in to contracts for this purpose. (DACS, 2017)

In the UK copyright laws apply for the entirety of an artist’s lifetime, and an additional seventy years after death. Once work has been created, under copyright law it then automatically becomes the property of the owner. If multiple artists have created a piece of work together, then joint copyright ownership is possible. However, if a work has been created either under commission or during the course of employment then alternative rules may apply. In these conditions the work may instead belong to the commissioner or the employer, depending on the terms of their contract. Copyright ownership can also be transferred to another party, or work can be licensed for use in certain circumstances.

Copyright infringement occurs when a person disregards the copyright owner’s exclusive rights. This most often involves unlawful reproduction or distribution of a piece of work. Copyright infringement also applies when portions of a work are reproduced, rather than the entirety. In the event of a copyright infringement, the creator may choose to resolve matters directly with the infringing party, or take legal action. If a legal claim succeeds then the creator may be provided with damages, or an injunction could be enforced. However, choosing to bring the matter to court can prove time consuming and costly for artists. For this reason, many young or independent artists may find they have limited protection (Puglise, 2016). Certain organisations such as ACID (Anti Copyright in Design) now exist to attempt to combat the threat of theft and assist artists and designers who are dealing with copyright infringement.

Copyright law also assigns creators with certain moral rights. The Paternity Right entitles the artist to be credited when their work is published or broadcast. The Right of Integrity provides artists

• Airey D. (2013) Work for Money, Design for Love. 1st Edition. United States of America: New Riders. • Airey, D. (2014) Student Interview Answers [Online]. Available at: http://www.davidairey.com/ask-me-anything-2/ [Accessed: 9 July 2017]. • Airey, D. (2015) Logo Design Love. 2nd Edition. United States of America: New Riders. • Airey, D. (2017) Email to Stephanie Griffin dated 3 July 2017. [Email in posession of author]. • ArtInsights Animation and Film Art Online (2012). Harry Potter Graphic Artists Interview at Woop Studios w/ArtInsights 1/3. [Online Video]. Available from: https://www.youtube.com/watch?v=2XhBUE06zH8&index=1&list=PL2DEED8AE54218EA0. [Accessed: 30 June 2017]. • Craig, S. (2010). Production Designer’s Notebook. In: B. Sibley (ed.) Harry Potter Film Wizardry. London: Bantam Press. • DACS. (2017). Frequently Asked Questions [Online]. Available at: https://www.dacs.org.uk/knowledge-base/frequently-asked-questions#FAQ155 [Accessed 10 July 2017]. • DACS. (2017). Frequently Asked Questions [Online]. Available at: https://www.dacs.org.uk/knowledge-base/frequently-asked-questions#FAQ155 [Accessed 12 July 2017]. • Gov.uk (n.d.) How Copyright Protects Your Work [Online]. Available at: https://www.gov.uk/copyright [Accessed: 30 June 2017]. • Gov.uk (n.d.) Intellectual Property And Your Work [Online]. Available at: https://www.gov.uk/intellectual-property-an-overview [Accessed: 30 June 2017]. • GREAT BRITAIN. Copyright Patent and Design Act 1988: Elizabeth II. Chapter 48 (1988) London: Her Majesty’s Stationery Office. • Hogarth, E. (2013) Emily Hogarth Interview [Online]. Interview with Papercrafter Magazine. Available at: http://www.papercraftermagazine.co.uk/blog/emily-hogarth-interview [Accessed: 9 July 2017]. • Hogarth, E. (2016) Q&A With Emily Hogarth - Made In Scotland [Online]. Interview with King, J. Available at: https://www.jewelleryofscotland.co.uk/blogs/news/q-a-with-emily-hogarth-made-in-scotland [Accessed: 9 July 2017]. • Hogarth, E. (2017) Interview With Emily Hogarth. Interview with Elsmore, J. on 5 July 2017. [Email in posession of author]. • Kattwinkel, L. (2007) Copyright Basics for Graphic Designers [Online]. Available at: http://www.aiga.org/copyright-basics-for-graphic-designers [Accessed: 2 July 2017]. • MinaLima (2017) About. [Online]. Available from: http://store.minalima.com/about-us/ [Accessed: 30 June 2017]. • Puglise, N. (2016). Fashion brand Zara accused of copying LA artist’s designs. [Online]. Available at: https://www.theguardian.com/ fashion/2016/jul/21/zara-accused-copying-artist-designs-fashion [Accessed: 10 July 2017]. • Redmans Solicitors (2012) Copyright – Primary and Secondary Infringement [Online]. Available at: http://www.redmans.co.uk/blog/intellectual-property-law/copyright-primary-and-secondary-infringement [Accessed: 2 July 2017]. • The Design Trust (2017) Copyright & Design Right: An Introduction and Practicalities for Designer Makers [Online]. Available at: http:// www.thedesigntrust.co.uk/design-right-and-copy-right-for-designers-and-designer-makers/ [Accessed: 2 July 2017]. • The Red Door Gallery (n.d.) Emily Hogarth [Online]. Available at: http://www.edinburghart.com/shop-2/product-tag/emily-hogarth/ [Accessed: 9 July 2017]. • University of Huddersfield (2015) What is Copyright? [Online]. Available at: http://www-old.hud.ac.uk/library/help/copyright/ [Accessed: 2 July 2017].

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COVER: ♦♦ Figure 1. Photographer Unknown (n.d.) David Airey [Online]. Available at: http://www.davidairey.co.uk/profile/ [Accessed: 1 July 2017]. ♦♦ Figure 2. Photographer Unknown (n.d). Emily Hogarth [Online]. Available at: https://www.pinterest.se/pin/75505731226307227/ [Accessed: 8 July 2017]. ♦♦ Figure 3. Photographer Unknown. (c.2012). MinaLima [Online]. Available at: http://karenkavett.com/blog/878/ [Accessed: 04 July 2017]. CONTENTS: ♦♦ Figure 4. Airey, D. (2017) Rupp [Online]. Available at: http://www.davidairey.co.uk/rupp/ [Accessed: 1 July 2017]. ♦♦ Figure 5. Hogarth, E. (2014) Tour De France [Online]. Available at: http://emilyhogarth.com/tour-de-france-2/ [Accessed: 8 July 2017]. ♦♦ Figure 6. MinaLima (2011) A Congeries of Wizards. [Print]. Available at: http://store.minalima.com/shop/a-congeries-of-wizards/ [Accessed: 04 July 2017]. DAVID AIREY DESIGNER PAGE: ♦♦ Figure 7. Airey, D. (2017) Kairos [Online]. Available at: http://www.davidairey.co.uk/kairos/ [Accessed: 1 July 2017]. ♦♦ Figure 8. Airey, D. (2015) Logo Design Love Book [Online]. Available at: http://www.davidairey.co.uk/books/ [Accessed: 1 July 2017]. ♦♦ Figure 9. Airey, D. (2017) Le Flow [Online]. Available at: http://www.davidairey.co.uk/leflow/ [Accessed: 1 July 2017]. ♦♦ Figure 10. Airey, D. (2017) eFolder [Online]. Available at: http://www.davidairey.co.uk/efolder/ [Accessed: 1 July 2017]. ♦♦ Figure 11. Airey, D. (2017) New Work: Tenon [Online]. Available at: http://www.davidairey.com/new-work-tenon/ [Accessed: 1 July 2017]. EMILY HOGARTH DESIGNER PAGE: ♦♦ Figure 12. Hogarth, E. (2016) Chris and Emma [Online]. Available at: https://www.instagram.com/p/BK5veithJEV/?taken-by=emilyhogarth [Accessed: 25 June 2017]. ♦♦ Figure 13. Hogarth, E. (2015) Arthur’s Seat [Online]. Available at: http://emilyhogarth.com/shop-2/arthurs-seat-limited-edition-screenprint/ [Accessed: 23 June 2017]. ♦♦ Figure 14. Hogarth, E. (2014) Tour De France [Online]. Available at: http://emilyhogarth.com/tour-de-france-2/ [Accessed: 8 July 2017]. ♦♦ Figure 15. Hogarth, E. (n.d.) Speed Bonnie Boat [Online]. Available at: http://www.edinburghart.com/product/speed-bonnie-boat/ [Accessed: 23 June 2017]. ♦♦ Figure 16. Hogarth, E. (n.d.) The Mile Book Cover [Online]. Available at: http://emilyhogarth.com/the-mile/ [Accessed: 6 July 2017]. MINALIMA DESIGNER PAGE: ♦♦ Figure 17. MinaLima. (2008). The Quibbler. [Prop Design]. Available at: http://store.minalima.com/shop/harry-potter-new/limited-edition-prints/the-quibbler/the-quibbler-spectrespecs/ [Accessed: 01 July 2017]. ♦♦ Figure 18. MinaLima. (2010). Weather In A Bottle. [Prop Design]. Available at: http://store.minalima.com/shop/harry-potter-new/limited-edition-prints/weasleys-wizard-wheezes/weather-in-a-bottle/ [Accessed: 04 July 2017]. ♦♦ Figure 19. MinaLima. (2010). Comb-A-Chameleon. [Prop Design]. Available at: http://store.minalima.com/shop/comb-a-chameleon/ [Accessed: 04 July 2017]. ♦♦ Figure 20. MinaLima. (2015). Michael’s Pocket Kite Kit. [Print]. Available at: http://store.minalima.com/shop/minalima/peter-pan-prints/ michaels-pocket-kite-kit/ [Accessed: 04 July 2017]. ♦♦ Figure 21. MinaLima. (2015). The Pirate Dinghy. [Print]. Available at: http://store.minalima.com/shop/minalima/peter-pan-prints/the-pirate-dinghy/ [Accessed: 04 July 2017].

BIBLIOGRAPHY LIST OF ILLUSTRATIONS