I’m an award-winning designer based in Scotland, and this is my portfolio showing the best of my work from all visual fields, aiming to give an accurate picture of my creative thinking, my design approach, and my inspirations. I’m qualified in both gra phic and textile design and thus my work ranges I TRULY BELIEVE THAT between these areas GOOD DESIGN IS PRODUCED from typography and WITH ALL LAYERS OF p a cka gin g d esig ns CREATIVE THINKING. AT th r o u g h p rinte d THE END OF THE DAY, textiles and surface pattern designs to DESIGN SERVES PEOPLE fine a rt. I don’t AND IT SHOULD BE DRIVEN like separating my BY THIS CONCERN TOWARDS work into narrowly THE USER - WHETHER IT d efin e d se ctio ns, IS A PUBLICATION OR A b e c a u s e w h a te v e r I’m doing, I always PIECE OF FURNITURE, use all my visual WHAT MATTERS IS HOW think in g a n d a l l THEIR USERS FEEL my creative skills. INTERACTING WITH IT. When it comes to any piece of design, it is always the end product, and its users that count, and this holistic approach dominates my creative work.
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This portfolio is arranged in chronological order showing the best of my work, starting with the most recent ones going back to the last decade to serve as an overview of my visual thinking and creative skills. Due to the varying nature of the creative fields they belong to, a system of colour codes help navigate between them, and (roughly) place them into their area. This portfolio is public, therefore it does not contain any artwork I created throughout my employment history, as I do not hold the copyright to those works. If you are interested in those, please request a CV.
graphic design typography illustration surface pattern design textile design fibre art
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deep white
interior branding & decor, 2018 The following pages show a number of designs created for a branded interior: Deep White Spa, a holistic wellbeing space in Iceland for the wealthy, ambitious and hard-working young traveller in need for a relaxing time. The term Deep White is not to be taken literally, it is a term for cleanness of the body and the mind, but it also refers to the richness of colours one can see in white when looking at the ice and the snow covered surfaces of the glacier surrounding this space.
IT MAY SEEM CONTRADICTORY TO CREATE A SUCH A DRAMATIC ATMOSPHERE IN A SPACE OF HEALING AND RELAXATION. HOWEVER, THE MOOD OF AN INTERIOR SPACE - HOSPITALITY IN PARTICULAR - SHOULD BE DICTATED BY ITS ENVIRONMENT, TRAVELLERS WANT TO BE THERE FOR A REASON. IN THIS CASE, IT IS NATURE. ICELAND IS A VIOLENT LAND WITH BRUTAL FORCES AT WORK, BUT IT IS WHAT LENDS ITS HEALING POWER TO THE THERMAL BATHS TOO. THEREFORE I SEE IT SOMETHING TO BE CELEBRATED HERE. The logo is a simple take on the landscape, the letter “W”, and downward arrows to point towards the depths. It is an easily repeatable pattern that can be translated into many surfaces, such as the copper loop pattern on the lobby carpet (left>>), or the parquet and stone tiles (↓ page 7.) The materials used are also the product of the local natural processes, the wet area tiles are volcanic basalt and the wood surfaces in the treatment rooms are locally grown pine and black birch.
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The signage systemâ&#x20AC;&#x2122;s arrows are also variations of the logo, however, not every surface needs to reference the branding to achieve a consistent, intriguing language. Some surfaces such as the sandblasted glass screens of the showers and changing room (<<right), or the lasercut lighting installations (^above), are abstract references of the rocks and glaciers surrounding this space.
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37 gál izala str. interior SURFACE PATTERNS, 2018 Gál Izala Street in Budapest is on the wealthy, affluent Buda side, and under number 37 stands a grand villa in Art Nouveau style. Its history is in line with city’s: having been destroyed by the world war and decades of state-owned neglect, a new owner attempts to restore its old glamour. These designs are my proposals for this project.
THE DESIGN ELEMENTS ARE ENTIRELY MY CREATION, BUT THEY ARE IN LINE WITH THE ART NOUVEAU STYLE OF THE BUILDING’S REMNANTS AND THE SURROUNDING AREA. ART NOUVEAU IN HUNGARY WAS HEAVILY INSPIRED BY FOLK ART MOTIFS SUCH AS TULIPS, AND THE TURKISH-OTTOMAN INFLUENCE OF THE BUDA SIDE ALSO HELPS MY PATTERNS FIT INTO ITS ENVIRONMENT.
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Everything in the design language is a variation of one or two elements, the tulips/onions and the rectangles. It may seem restrictive to use the same graphics over again in so many places, but they can be used creatively in many clever ways to avoid them seeming repetitive.
IT IS A TIGHTROPE WALK TO RECREATE THE DESIGN ATMOSPHERE OF A BYGONE ERA WITHOUT MAKING IT INTO A CHEAP MOCKERY. RELYING ON A FEW DESIGN ELEMENTS IN A DOMESTIC INTERIOR CAN ALSO MAKE IT FEEL BRANDED, STERILE AND LESS HOMELY. HOWEVER, USING THEM IN CREATIVE VARIATIONS, AND IN THE RIGHT MEASURES BRINGS CONSISTENCY TO THE BUILDING AND CREATES A CONVERSATION WITH ITS ENVIRONMENT. The main design elements are prominent features, but only on a few hard finishes (such as railings, plaster mouldings and glass windows), and a few rugs, giving way for more contemporary purchases (e.g. furniture and chandeliers) to elevate the interior into the 21st century and make a suitable home for many years to come.
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THE LARDER LOGO & SIGNAGE DESIGNS, 2018 These designs were created for an outdoor visitor centre in Scotland, with several sub-brands, one of them called “The Larder”, with a nature-embracing interior decor, serving fresh, locally sourced food to go. All the existing sub-brands use the typeface and imagery of the umbrella: slightly traditional, but with a quirky twist with vintage style illustrations given a significant role.
BOTH THE LOGO FOR THE LARDER AND THE ICE CREAM SIGN FOLLOWS CLOSELY THIS VISUAL GUIDANCE. THE BACKGROUND PATTERNS BRING FURTHER CONSISTENCY INTO THE LANGUAGE, BRINGING TOGETHER DIFFERENT FUNCTIONS FOR DIFFERENT TARGETS. The A-board is aimed at visitors of all ages in a more confined environment so more subtle colours were used, while the ice cream sign was to attract mainly children and young families. However, the visual language is common in both and achieves brand consistency throughout.
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motherwell electrical company greetings cards, 2018 This is a custom Christmas card designed for an electrical company to send out to their customers. Christmas lights are the textbook example of a serial connection and I saw it as an opportunity to take a fun, but still corporate, electrical take on festive decoration.
I WANTED TO CREATE A FUN INTRIGUE, A CARD THAT ITS RECEIVERS WILL WANT TO OPEN WITH CURIOSITY, WONDERING WHO IT CAME FROM. I BELIEVE IN LEAVING ROOM FOR THE AUDIENCE TO PLAY WITH THE ASSOCIATIONS BASED ON THE CLUES WE PLACE IN FRONT OF THEM. I wanted to avoid visual clichés and still make an informative, fun and festive card that can be sent as reminders of good business and to build customer loyalty.
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museum of typography poster design, 2018 This design was my entry to the Museum of Typography competition in 2018. The poster is a mathematical blending of two different asterisk shapes, representing the evolution of type.
I picked the asterisk symbol because it is international - it is found in many languages and it goes with all characters. it is usually used for the â&#x20AC;&#x153;small printâ&#x20AC;?, to explain details and add further notes, which Is fitting for a museum dedicated to typography.
The composition is minimal and contrasted, there is only two colours: ink and paper, reducing typography to its essence of print. It is an ancient symbol but this computer-generated design references what typography became in the 21st Century.
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A YARN WELL SPUN TEXTILE PRINT DESIGN, 2018
This print was my winning entry in the textile print competition of New Lanark World Heritage Site and Visitor Centre. The brief was to design a pattern in response to the theme of “Life and Work in New Lanark”, in the branding colours of the Heritage Site and the Visitor Centre. I came up with the idea of this collage of photos of New Lanark and its environment. The flowy waves represent both the River Clyde shaping the valley but also the continuous flow of the yarn. The waves are cut through in even lines as the rows of mills and houses emerge on the riverbank, a representation of the community of workers.
THE TITLE I GAVE TO THIS PATTERN, “A YARN WELL SPUN” REFERS TO THE MANY STORIES TOLD THROUGH THE COMMUNITY OF MILL WORKERS, THE UNIQUE TALES OF PEOPLE WHO WORKED HERE. THE PHOTOGRAPHIC, COLLAGESTYLE COMPOSITION OF THE PATTERN STRENGTHENS THIS IDEA.
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SCARBOROUGH FAIR interior surface PATTERN DESIGN, 2017
This pattern was a response to an interview assignment for the role of Surface Pattern Designer at Marcel Wanders which resulted in receiving the job offer. The task was to create a pattern using either geometric or floral motifs. I opted for the geometric style because of my bold personal style, and I created a flexibly usable pattern - the response to the brief originated from my personal interest in the built environment. I imagined this pattern to be used in a refurbishment project in one of the plenty of abandoned or suffering hotels on the British seaside. That’s where the elements come from: the late Victorian / Edwardian aesthetics, but to avoid playing on nostalgia, I decided to bring them to the 21st Century, which resulted in this intricate, almost industrial, futuristic look.
WHEN CREATING A PATTERN FOR AN INTERIOR DESIGN, I ALWAYS LOOK FOR A CONNECTION WITH THE BUILDING. IF OUR PURPOSE IS TO MAKE THE VISITOR FEEL COMFORTABLE WITH THEIR SURROUNDINGS, THEN IT IS IMPORTANT TO SHOW WHAT’S BEAUTIFUL IN WHERE THEY ARE.
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ANTHROPOCENE //GRIDS TEXTILE DESIGNS, 2017
Anthropocene was the title of my MA project at Heriot-Watt University, and the projectâ&#x20AC;&#x2122;s aims were the c r e atio n of textiles th at a r e inspired by the human age. The ultim ate aim was to create interior textiles, to serve as a functional response to the challenges o f th e A n th r o p o c e n e USING THIS AGE AS b y a d d r e s si n g p l a c e AN INSPIRATION, I detachment in urbanised LOOK FOR A SOLUTION ho m es and by seeking sustainable materials and THAT EMBRACES THE production principles. PRESENT, CREATING
NOT ONLY COMFORT BUT
I intended to achieve CONTENTMENT TOO, TO this with three separate RAISE ACCEPTANCE AND collection of textile CURIOSITY TOWARDS designs. GRIDS is a series OUR SURROUNDINGS. of textiles inspired by industrial landscapes, structures and networks. I w as interested in an abstract language, to humanise them and make them appear less intimidating.
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THEY ARE BLOCK-PRINTED WITH A SET OF DIGITALLY DESIGNED AND LASER-CUT BLOCKS, FUSING HIGH-TECH WITH THE MOST ANCIENT WAYS OF PRINTMAKING. THEY ARE ALSO OVERSTITCHED FOR AN ADDITIONAL HAPTIC QUALITY TO THE BASE FABRIC. THE PURPOSE OF USING ROUGH QUALITY JUTE IS TO SEEK SUSTAINABLE PRODUCTION PRINCIPLES AND MATERIALS AND ELEVATE THEM TO THE MODERN INTERIOR.
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ANTHROPOCENE //blocks TEXTILE DESIGNS, 2017
A series of textiles inspired by brutalist architecture, building blocks and town layouts. I used Glenrothes, one of the original of the four new towns of Scotland, built mostly in a brutalist style, with raw concrete residential and office buildings, and many roundabouts, under- and overpasses. I introduced negative layers as a means to allow light and shadow to play a role in the design. One way of achieving this was devoré, applied as a screen overprint on digitally printed silk viscose satin in a corresponding pattern. Another was laser cutting, which gives more prominent shadows than devoré.
THE DIGITAL PRINTING technique enabled TO PRESERVE SOME OF THE ORIGINAL DETAILS AND THUS OPENS UP POSSIBILITIES TO RE-INTERPRET ITS SUBJECT MATTER AND FOR THE USER TO FORM NEW BONDS WITH THE BUILT ENVIRONMENT.
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ANTHROPOCENE //blocks TEXTILE DESIGNS, 2017
A series of textiles inspired by industrial surfaces and building materials, as seen in the environment today: some in use, some neglected in a post-industrial age.
THIS IS A CLOSE-UP VIEW OF THE ANTHROPOCENE, EMPHASISING THE TEMPORALITY OF THE HUMAN AGE AND STRENGTHENING AN IDEA OF NATURE THAT IS NOT SEPARATE FROM MAN BUT ONE WITH IT, AS DECAY IS AN ORGANIC, UNCONTROLLED, NATURAL PROCESS. Digital printing preserved the photographic details, but a metallic finish was introduced to the prints too, with copper colour. It matches the industrial theme of the collection and the colour scheme too: copper oxidises in green/blue shades which further emphasises the corroding effects. Applying it with a brush created a completely randomised, organic effect. The metallic finish also contrasts the coarse base fabrics well.
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WHAT IS PRESENT IN ALL THREE COLLECTIONS IS ANOTHER VISUAL LAYER TO EACH OF THEM: WHETHER IT IS POSITIVE IN THE FORM OF EMBROIDERY OR OVERPAINT, OR NEGATIVE, AS CUT-OUTS OR BURN-OUTS, THESE ARE TEXTILES WITH DEPTH AND THESE ADDITIONAL QUALITIES CONNECT TO THE USER ON A MORE DIRECT LEVEL. THEY ARE NOT JUST PRINTS TO LOOK AT, BUT TO TOUCH, FEEL, MOVE AND RE-INTERPRET - USE. This was a complex research project lasting two years, involving a lot of practical experimentation, visual research and literature review, and received additional funding as a Postgraduate Award from the Textile Society.
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the scottish borders project TEXTILE DESIGNS, 2016 Digitally printed and laser cut textiles inspired by buildings of the modernist architect Peter Womersley, found in the Scottish Borders.
THEY WERE PRINTED ON COTTON VOILE, TO BEST ACHIEVE THE TRANSLUCENCY, AIRINESS AND HUMAN SCALE OF THE BUILDINGS, AND COMPLETED WITH LASERCUTTING TO CREATE CORRESPONDING SHADOWS. The colours are borrowed from Borders-based textile designer (and Womersleyâ&#x20AC;&#x2122;s friend and colleague), Bernat Klein and a colour yarn sample from him was associated to each of the six buildings visited.
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THE DUNDEE PROJECT TEXTILE DESIGNS, 2016
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Digitally and block printed patterns on jute and linen, inspired by archive textiles of the Donald Brothers Ltd (a Dundee-based company, growing out of the jute industry producing soft-furnishing and interior textiles between the 1890s and the 1970s.) There are 30 patterns, presented in 3 ways: the first swatch book contains 10 seamless, digitally printed patterns on rough, industrial jute (varying between densely and loosely woven). This has won a commendation at the 2017 Bradford Textile Awards in the P2 Category.
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The second book contains linen samples, to reflect on the roots of Dundeeâ&#x20AC;&#x2122;s jute industry, growing out of the linen production. It also ties in with sustainable production principles, which is further emphasised by using digital printing.
The colour scheme, the tile arrangements and the visible digitalness of these designs aim to re-introduce these past designs into a contemporary context and make them fit into modern interiors again. 42\\
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The third swatch book contains 10 block printed jute samples. They were also created from photographs of the archive materials. The photos were filtered with pixels, then vectorised, and were then cut out of plywood with a laser-cutter. This process is an attempt of fusing the most contemporary technology with the most ancient ways of printing, creating a form of modern craftsmanship, and also a reference to the Donald Brothers works, who used block printing up to the 1950s. Not all blocks were created from photographs, there are some that reference the “tiledesigns” as seen in the previous books. This serves a consistency between all three swatch books, and also an opportunity for deconstructed, playful prints with multiple layers of mixed elements.
THE PROCESS OF PRODUCING THE DESIGNS ENTIRELY BY DIGITAL MEANS AND THE PIXEL REFERENCES IN THE DESIGNS THEMSELVES ARE A REFLECTION ON DUNDEE’S PRESENT, WITH digital design PLAYING AN ENORMOUS ROLE IN THE CITY’S REGENERATION.
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PLANPAK LLC LOGO DESIGN AND BUSINESS PLAN LAYOUT, 2016
This publication was designed during my Masters course in Fashion & Textiles Design at Heriot-Watt University. For the module of Entrepreneurship, our task was to form a company and create a business plan. Another student and I decided to create a business plan for an environmentally friendly packaging company for online fashion retailers. We wrote the business plan together, and I designed the layout and the logo.
THE LOGO IS A VISUAL PLAY: IT CAN BE SEEN AS CUBESHAPED BOXES, BUT THEY ALSO FORM A GEOMETRIC LEAF.
I printed our research on recycled kraft paper with green inks to emphasise our eco-friendliness, and the logo was laser-cut out of green cardboard for the cover.
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ROADWORKS FIBRE ART STUDIES, 2016 These were created at a contemporary textile art workshop focused on making nets with water soluble fabrics. The silver wrapping paper was supplied and it reminded me of high-visibility layers, which I completed with my own fluorescent thread to re-create the atmosphere of motorway and roadside constructions, cones and working men.
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CAFÉ CONCEPTS LOGO DESIGNS, 2015
These ideas were developed for a packaging company, to create three separate branding for new cafés opting for environmentally friendly packaging range. For one of my ideas, I imagined a small, but friendly takeaway café place which would serve paying guests and also would work with local charities. I named it “the brollie”, and used a negative logo placed on a rain drop background.
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The second idea relates to the built environment: the café would be opened in a disused flax mill building which had distinctive shapes and I wanted to compliment it with a logo and an industrial-looking typeface. I considered the benefits of simplicity for the packaging and menu designs, and kept cost-efficient printing in mind too.
GOOD DESIGN SHOULD ALWAYS BE DRIVEN BY CONSIDERATIONS TOWARDS THE END USER, IN THIS CASE, THE CUSTOMERS OF THESE PLACES - HOW WOULD THEY USE THESE DESIGNS? WOULD THEY WANT TO MEET HERE? THESE ARE IMPORTANT TO IMAGINE IN THE PROCESS OF CREATING THINGS THAT LAST.
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PAPER DRAGON STITCH AND PAPER, 2015 This work is an exploration of combining patterns and surfaces. Itâ&#x20AC;&#x2122;s made with threads and original Japanese origami paper which I received from a friend as a gift. The patterns were combined with singlecolour papers in triangular shapes to resemble origami folds, but the stitches are not strict, the threads are left hanging, and there are triangular holes too, to create a free, airy effect that suits this abstract kite.
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ARTIFICIAL GARDEN DIGITAL TEXTILE DESIGNS, 2015
These designs were created for a public competition for an unnamed fashion retail company. The brief was to create a bold, bright pattern on the theme of “artificial garden”, for which a moodboard was provided. Ten different ideas could be supplied to the competition, so I developed them on THEY WERE ALL CONNECTED WITH THE SAME IDEA OF two main separate “ARTIFICIALNESS” THOUGH: lines: opium GRIDS, PRISMS, GLASS WINDOWS, poppies blooming and recycling old, THESE MAN-BUILT GARDEN WALL existing floral STRUCTURES PROVIDED THE patterns into this REPEATING ELEMENTS OF THE artificial context. PATTERNS.
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KILL YOUR GERMS! TEXTILES AND PAINTING, 2014
This is a mixed media work that features watercolour painting on adhesive fabric, and drawing with stitch as well. It is a finished hand study, so in the focus is a pair of hands under a tap.
THIS WORK IS A STUDY, MAGNIFYING AND EXAMINING A SIMPLE ACT WE ALL CARRY OUT COUNTLESS TIMES A DAY WITHOUT THINKING. Iâ&#x20AC;&#x2122;M INTERESTED IN REPETITION AND HOW EACH TIME A SEEMINGLY MEANINGLESS ROUTINE TURNS INTO SOMETHING DIFFERENT.
It could also be an interpretation of the metaphorical meaning of washing hands, from crime and corruption, and the title is an ironic reference to the dirty and run-down environment of this act of cleansing, how clean can we get if there is rust and mould all around us?
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NATURAL PHENOMENA POSTER DESIGNS, 2014
This was a competition entry for Typography Day 2015, and the brief was to create a typographic poster using one or two words expressing nature, in my native tongue. This meant I had to use Hungarian words, and in my entries I turned to commonly used phrases that contained the word “nature”. The words for “natural phenomena” are on the opposite page poster.
THE TYPOGRAPHY WAS INSPIRED BY MY TRAVELS TO ICELAND WHERE IT IS POSSIBLE TO OBSERVE MANY EXTREME NATURAL PHENOMENA. THE LETTERFORMS SEEM TO BE FORMED BY THE CRACKING OF ROCKS OR ICE, WITH A VERY SHARP CONTRAST THAT REFLECTS ON THE HARSHNESS OF NATURAL ENVIRONMENT. The letterforms are part of a process of vast natural forces at work, almost being crushed. This seems to compromise legibility but it is an engaging design that requires attention.
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PICKLED SCISSORS
LOGO AND LABEL DESIGN + PRODUCT RANGE, 2014 I created this logo design for my product range made of re-dyed and recycled textiles - consisting currently of mostly soft-furnishings.
THE TERM “PICKLED SCISSORS” COMES FROM A HUNGARIAN PHRASE, FOR WHEN A PIECE OF CLOTHING IS IRREPERABLY STAINED AND THE ONLY FOLKLORE ADVICE TO GET IT OUT OF THE FABRIC IS TO USE “PICKLED SCISSORS”. ITS ENGLISH TRANSLATION IS FONDLY QUIRKY, AND IT FEELS SUITABLE TO USE THIS PHRASE FOR PIECES OF FABRICS PEOPLE CAN’T USE ANYMORE. I used a simple icon for a pair of open scissors with bright yellow, to represent the acidity of vinegar, associated with pickles. The bright yellow and the X-shaped scissors together form a very definite and sharp design that signifies the kind of waste that could be a start of something new again.
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This series of products was created of recycled textiles, and consisted of cushions and scarves.
I STARTED EXPERIMENTING WITH TRADITIONAL INDIAN PRINTING BLOCKS, AND I TRIED THEM ON DIFFERENT, USED FABRICS WHICH I HAD HAND DYED PREVIOUSLY FOR AN INTERESTING EFFECT. I WAS PLEASED WITH THE RESULT SO I BOUGHT CANVAS TOTE BAGS AND CUSHIONS WITH COVERS TO USE THEM ON. I LIKE WORKING WITH WASTE AND FIND OUT WHAT BECOMES OF THEM IN THEIR “SECOND LIFE”. I also think it’s a great way of promoting environmental awareness and developing new ways of traditional techniques such as hand-dyeing and block-printing. The vintage effect of the end results proved to be popular and unique.
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PYLONS CARDS, BAGS AND CUSHIONS, 2014
This series of images came from a textile design project I started a few years ago. I developed them into more simplified drawings and applied them on greetings cards, cushions and canvas tote bags.
IT IS A VERY SIMPLE, MODERN AND FUN IMAGE PAYING TRIBUTE TO THESE STRUCTURES THAT BRING ELECTRICITY TO OUR HOMES.
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skechi 2014 ILLUSTRATIONS, 2014
This series of illustrations developed from croquis during the Sochi Winter Olympics. Iâ&#x20AC;&#x2122;m a big fan of winter sports, and I also wanted to develop my drawing skills by paying attention to different body movements. Instead of using pencils, I turned to ink pens as they have a certain dynamic that suits winter sports better.
I LIKED THE COLOURFUL GRAPHIC DESIGN THEME OF THE EVENT BRANDING, AND I USED MARKER PENS TO MATCH THIS, AND THE BRIGHT COLOURS OF THE SPORTSWEAR SOME ATHLETES WERE WEARING. This exercise came useful later when I became a product designer working for a junior sportswear brand, and I needed to understand how these products are used.
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CRACKS
TEXTILES AND STITCH, 2014
This work was created at a textile art workshop. This is an independent exploration of creating new surfaces with stitch, and with the threads I had with me, I associated to a cracked, battered, mouldy surface, the collapsing walls of a derelict building.
THE MONOCHROMES OF THE DARK BLACK AND GRAY WERE BALANCED OUT WITH VIBRANT GREEN AT PLACES, REPRESENTING MOSS COMING THROUGH CRUMBLING WALLS. I HAVE ALWAYS BEEN INTERESTED IN THE CYCLES OF DECAY AND HOW QUICKLY LIFE APPEARS IN “DEAD” PLACES. This work intends to reflect this cycle and the textures reflect on the different layers time has laid in a place, a section of this it is taken out of its context and examined through stitch.
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AUTUMN FOREST WALL HANGING, 2014 This work is a very colourful result of experimenting with soluble fabrics and free form lacing. I have always been interested in 3D structures and Iâ&#x20AC;&#x2122;m keen to develop my skills in this direction. Autumn is my favourite season, partly because of the colours nature displays at this time. This work is a study and a celebration of these colours.
I USED a range of DIFFERENT KINDS OF THREADS TO MAKE UP A STRUCTURE WITH INCREASING DENSITY UPWARDS, LIKE TREES IN A FOREST, COMING ONLY FROM A COUPLE OF MAIN ROOTS. As I was not using any additional fabric
to the soluble fabric layer I was working with, this structure solely relies on the threads and the stitching.
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(On previous page spread):
UNDERGROUND CORRUPTION
INFOGRAPHIC DESIGN, 2013 (COMPETITION ENTRY, 2ND PRIZE)
This was an entry for the “Visualising Corruption” competition organised by Transparency International UK, and I was awarded 2 nd prize for this. The brief was to design an infographic, based on some of the reports published by TI UK. My work is showing I BELIEVE A GOOD a general pattern INFOGRAPHIC DESIGN HAS ITS of corruption in POWER IN BEING ABLE TO bidding for a REVEAL SOMETHING VISUALLY, public contract, THAT MIGHT NOT BE SO and my purpose was to show how CLEARLY SEEN OTHERWISE. - while its participants gain - damage is caused to fair competition. I have used the London Underground map as a visual reference, not only because it is a classic example of great infographic design, but also it works as a symbol that corruption often goes undetected and it is mostly happening under the surface.
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Having grown up in Hungary in the 1990s, I have witnessed corruption on many occasions and Iâ&#x20AC;&#x2122;m very aware and suspicious of it, I think corruption is at the very root of many serious environmental problems and human rights abuses. Despite this, I was very surprised to find that even typing in just the word â&#x20AC;&#x153;corruptionâ&#x20AC;? in search bars of major UK newspapers resulted in news reports almost only from abroad - it seemed to me that this word means something distant, that happens elsewhere to the British press. Corruption is very rarely mentioned or referred to by the UK media as a major element of fraud or other crimes, and I was trying to address this with my infographic. My other observation that is specific to the UK is its advanced societal culture of clubs and societies, that on one hand is an encouraging and prosperous environment for creating business, on the other hand it lacks transparency and could also be a fertile ground for nepotism and corruption. I wanted to raise awareness to all this, in the simplest way visually possible with my design.
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WORLD PROSPERITY INDEX
COVER DESIGN, 2013 (COMPETITION ENTRY, 2ND PRIZE) This cover design was an entry for the “Prosperity Illustrated” competition, organised by the Legatum Institute, who publish an annual global report of the world’s most prosperous countries. The brief of the competition was to design the cover of this report and illustrate prosperity, bearing in mind the nature of the ranking. Prosperity itself is a complicated subject and I had several different ideas in my mind, and I intended to present them the simplest way possible,
I TRULY BELIEVE IN SIMPLICITY AS THE GREATEST TOOL IN VISUAL COMMUNICATION, BECAUSE IT ALLOWS THE VIEWER TO ASSOCIATE FREELY AND MAKE CONNECTIONS THEMSELVES. IT IS ABOUT TREATING THE AUDIENCE AS EQUALS.
In my entry which won 2 nd prize, I presented prosperity as growth and wellbeing, but I also connected this idea to the world of charts and rankings in a playful way. I had further ideas to make the same visual connections, in all of my entries I challenged myself to tell the words “Prosperity Indexed” in the most simple, most understandable way visually possible.
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THE LITTLE MERMAID DIGITAL PATTERN, 2013 (COMPETITION ENTRY)
This was my entry to the digital fabric design competition of DIY couture. The brief was to create a textile design digitally, around the theme of MY ENTRY WAS “Immense depths”, two INSPIRED BY DEEP digital moodboards SEA CREATURES, SUCH were supplied with AS JELLYFISH. THE many different images (mainly sea- PACIFIC OCEAN AND ITS related), to inspire ATOLLS HAVE ALWAYS BEEN FASCINATING the fabric design.
TO ME AND I WANTED TO CREATE A PATTERN THAT EXPRESSES THIS COLOURFUL WORLD.
I aimed for a modern, digital look with the glowing, neon effects that can also be perceived as the electric and glowing creatures living underwater. The sparkles could also be seen as the Moon reflecting on the surface of the water.
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CONSTRUCTION
FABRIC PAINTING AND EMBROIDERY, 2013
This is a series of stitched images: my experiments of layering fabrics. I have dyed them by hand and printed them with found objects, then stitched them together and drew on them with thread.
I HAVE ALWAYS BEEN FASCINATED BY CRANES AND METAL STRUCTURES THAT ARE BUILT TO BUILD. I APPRECIATE THEIR BEAUTY BUT I ALSO WANTED TO EXPLORE THEIR FUNCTION OF BUILDING AND HOW THIS LARGE-SCALE PROCESS OF CREATING NEW SPACE WORKS. I view it as a constant circle of destruction and construction, as functional things never last forever, they become redundant when they lose their original purpose and this decay and destruction is a ground for rebuild and this is what I wished to study with these works.
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DANCING IN SPACE (THE PLANETS) DIGITAL ILLUSTRATIONS, 2013 (COMPETITION ENTRY)
This was my entry to The Cheltenham Illustration Awards in 2013. The brief was to create an illustration to Gustav Holst’s composition “The Planets”, but also applying the theme of memory. The composition is a modernist work, consisting of seven separate pieces, each representing a different character, a different personality attributed to a certain planet. They also make a continuous line in time, starting with youth and finishing with old age.
MY RESPONSE TO THIS FEATURED DANCERS, AS I IMAGINED THE PIECES OF MUSIC DANCED ON STAGE BY DIFFERENT CHARACTERS. THE FIGURES ARE MADE UP OF FLUID LINES, INTERWOVEN INTO THEIR ENVIRONMENTS, CREATING A MAPLIKE SURFACE. They also show a slight resemblance to bacteria in petri-dishes, that could signify a search for new life elsewhere. The theme of memory applied here is of childhood, the resemblance to marbles and the bright colours represent this.
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LIFE UP YOUR SPICE! PACKAGING DESIGNS, 2013 This is not technically a commercial design, as I have created this labelling system for my home spice rack, because I was unhappy with the standard supermarket packaging. I think they are quite uniformed, and I find it hard to distinguish them, even if they have the name clearly written.
TO REPLACE THEM, I designed THESE COLOURFUL LABELS THAT MARK THE COLOUR OF THE SPICE AS WELL AS THE SHAPE AND I TRIED TO MAKE THE ASSOCIATION OF THE FLAVOURS EASIER.
I opted for using a bold font to make space for the play on colours and shapes of the herbs. The fonts are also large enough to wrap around the entire jar, so they can be instantly recognised without turning them around .
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GRADUATION CEREMONY EVENT IDENTITY, 2012
After finishing my Graphic Design course, the Interactive Design Institute and the University of Hertfordshire have organised a graduation ceremony for all the e-learning graduates at Edinburgh Castle. Prior to the ceremony, there was a competition amongst all the design students and graduates to design the identity of the event itself, which I won.
MY DESIGNS ARE BASED ON THE ARCHITECTURAL ELEMENTS OF THE ENTRY GATE OF EDINBURGH CASTLE, TAKEN TO BASIC GEOMETRIC ELEMENTS IN BRIGHT COLOURS. The printed material consisted of a castle pass, a seat sign and a graduation brochure, in brand consistency with both the Interactive Design Institute and the University of Hertfordshire. 88\\
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THE TYPOLYMPICON POSTER DESIGN, 2012 (COMPETITION ENTRY, 3RD PRIZE)
This poster was designed as an entry for the ArjoWiggins Conqueror Typographic Games, prior to the London Olympic Games in 2012. I have received a bronze medal in the competition and my poster was featured in the September 2012 issue of Creative Review. The brief was to create a sport-related typographic poster featuring the sentence: “It’s not what you win, but how you conquer it”.
IT IS A SIMPLE SENTENCE THAT LEAVES A LOT OF SPACE FOR VISUAL PLAYS, TO EMPHASISE THE DIFFERENCE BETWEEN WINNING AND CONQUERING. IN MY ENTRY I WANTED TO KEEP THIS SIMPLE AND OBVIOUS, BUT WITHOUT TURNING TO CLICHÉS. I played with the “I” in the word “win”, as it can be read as a Roman number one, as the first place. This displays a sense of glory and I have placed it on a flag. Achievement, however, is independent from this, and happens on the ground. Again I intended to play with the typography and I have taken the Q to be the centre, with its tail illustrated as a high jumper. With the colours and the graphic elements, I wanted to create an athletic atmosphere and emphasise motion.
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BAD NEWS (ARAL SEA) POSTER DESIGN, 2012 (COMPETITION ENTRY) This poster was designed as a competition entry for “The Future We Want - Drop By Drop” postercompetition which was part of an EU-funded international project themed around the shortage of freshwater our planet is facing.
IT IS COMMONPLACE THAT WE CALL OUR FORESTS “THE LUNGS OF OUR PLANET” WHICH IS WHERE MY IDEA CAME FROM. I THINK OUR LAKES AND RIVERS ARE ALSO VITAL ORGANS OF THE ENVIRONMENT AND I WANTED TO PLAY WITH THIS IMAGERY.I have researched satellite photographs of the shrinking of the Aral Sea, which has virtually completely dried out, solely due to human activity. I re-drew them and presented them as MRIscans, because I wanted to raise the alarm. People feel more worried about their human, physical health than the long-term health of our planet, even if the two are connected, and I wanted to show this link. I titled the work “bad news” because it is what a doctor would say if these were real scans of a vital organ.
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PORTS GRAPHICS, 2012 I created these images of my own photographs of local coastal towns and villages, to be used on T-shirts and cards. I tried to create a tongue-in-cheek, overdone summery atmosphere with the bold choice of colours and retro typography.
There is some humour in Scottish fishing towns appearing in the style of Pacific surfing paradises or French riviera towns.
MY PURPOSE WITH IT WAS TO ENTERTAIN, AND TO CREATE NEW, FOND THOUGHTS FOR THESE PLACES. I originally intended them to be made into postcards, but they are fitting tote bags and t-shirts too, so I made them available on my Society6.com profile on a wide range of colours.
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KONKRET
DIGITAL ILLUSTRATIONS, 2012
This is part of a series of digital illustrations I’m creating about Scottish cities, based on my own photographs. This one is about Glasgow and its concrete architecture.
I HAVE A GREAT FONDNESS OF THIS MATERIAL AND MODERNIST ARCHITECTURE IN GENERAL AND I’M INTERESTED IN ITS DEPTHS AND LAYERS, AND I WANT TO EXPLORE OUR RELATIONSHIP WITH IT, WHY IT BECAME THE CHOSEN MATERIAL FOR SOME DECADES AND HOW ITS REPUTATION CHANGED WITH TIME.
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ANYWAY, ANYHOW, ANYWHERE ADVERTISEMENT DESIGNS, 2011
I have made these posters for a brief during my last year at my Graphic Design course, for a competition of the Young Creatives Network. The challenge was to create a campaign for P&O Ferries targeting mainly budget airline travelers. I kept the campaign visually strictly within the company’s branding guidelines, using the colours, typefaces and styles I have seen on their website and in previous campaigns, but I changed the language and I took on a more direct approach. I took the line “Anyway Anyhow Anywhere” from the popular song, which is an obvious exaggeration applied to a ferry service,
BUT MY IDEA WAS THAT THE COMPANY COULD TAKE ON A BRAVE COMMUNICATION APPROACH, IN A TIME WHEN THERE IS SUCH A GENERAL PUBLIC DISCONTENT WITH THE RESTRICTIONS AND UNCOMFORTABLE SERVICES OF AIRLINE TRAVEL. I intended my graphics to sympathise with the complaints of airline travelers and offer them the comfort and freedom of ferry travel instead. I have taken commonly used phrases and icons to get the ideas across instantly.
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RED SQUARES BOOK DESIGN, 2011 I have designed this set of books for a brief during my third year at my graphic design degree course. This was a brief I could choose and I decided to make sample layout pages for an entire set of language course books for Russian, as I’m interested in languages and education. I don’t only have a personal experience as a student: I also used to teach English as a foreign language for private pupils in Hungary.
I NAMED IT RED SQUARES AND TOOK IT LITERALLY IN THE DESIGN. THE TITLE IS AN OBVIOUS PLAY ON MOSCOW’S MOST FAMOUS SQUARE, BUT THE DESIGN IS ALSO AN HOMAGE TO TRADITIONAL RUSHNYIK EMBROIDERY, AND OF COURSE, TETRIS, POSSIBLY ONE OF THE MOST FAMOUS RUSSIAN INVENTIONS OF MODERN TIMES, AS I WANTED THE DESIGN TO BE CONTEMPORARY.
My aim was to create a clear and practical design that looks inviting and makes a supposedly difficult language seem easy.
The design has a functional system: different coloured pixels on the book covers mark the different function of the book, and a different letter on the cover marks a different level. The design is extendable to various parts such as CDs and dictionaries, and I took printing into account too by applying only two colours inside, and create a logical system out of their tones.
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This is a double page spread sample from the coursebook, using a varied and exciting layout, to help maintain attention. This is intended for classroom use, so the exercise are placed in a varied order.
6.7 Read the following text and answer the questions
below.
(On CD: Track 27) Мой день. . Я налоговый инспектор. Привет, меня зовут Смит. Макс Смит – это как план. Коллеги ь жизн Моя . кции инспе в Я работаю думаю, что это очень я но но, терес неин это говорят, что и, нет кота. У меня собак нет , жены нет меня У . хорошо. Я один т, бутерброд и пью йогур ем я Утром хо. непло Это есть квартира. аналитические читаю и енты докум ю смотр чай. На работе я гами. Я ем суп, колле с ю говор и кафе в ю статьи. Днём я обеда изор, футбол. телев ю смотр я дома ром, пиццу и пью чай. Вече Потом я сплю.
Когда он обедает? Когда он работает? Когда он ест йогурт? Когда он пьёт чай? Когда он смотрит телевизор?
Утро Когда? Утром
This double page spread is a sample from the grammar book, with summarising tables on the left and corresponding exercises on the right. It is very simple and the layout is a lot less exciting, this is intended for home practice, and the layout here needs to be clear and understandable.
inserts.indd 4-5
День Когда? Днём
Unit 16
The prepositional case is used with four main prepositions:
B (In) Ha (On, At) O (About) При (Attached to, in the presence of) However, using the prepositions only are not enough to be grammatically correct. The ending of the words change too, in the following way:*
Masculine nouns: -E Nominative: стол, компьютер, файл, журнал Prepositional: o/в/на/при столЕ, компьютерЕ, файлЕ, журналЕ Feminine nouns: -E/-И Nominative: книга, газета, ссылка, работа, РоссИЯ, ФранцИя, демонстрацИя Prepositional: o/в/на/при книгЕ, ссылкЕ, газетЕ, работЕ, РоссИИ, ФранцИИ, демонстрацИИ Neuter nouns: -E/окно, кино, метро, бюро, море Prepositional: o/в/на/при oкнЕ, кино, метро, бюро, море.
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Вечер Ночь Когда? Вечерoм Когда? Ночю
The Prepositional Case 1 Personal pronouns also modify for the prepositional case:
Nominative Я Ты Oн Онa Оно Мы Они
Prepositional Мне Тебя Нём Ней Нём Нас Них
*Exceptions:
A few nouns get -y instead of -e, after нa or в: в Kрыму (in the Crimea) В аэропортУ В портУ В углУ В шкафУ В лесУ В садУ На мостУ На бортУ На углУ На шкафУ However, these words have the normal -e ending after “o” (about). “Mы говорим о сaде.”
Please note that in Russian, “in” and “at” don’t always happen the same way as in English. Here are a couple of typical cases: В парке В офисе В фирме В квартире В ресторане В кафе В магазине В клубе В театре В музее В отеле В университете В институте В России В Америке Во Франции В Англии В Китае В Японии В Европe В Азии В центре В семье
На отдыхе На работе На конференции На встрече На собрании На демонстрации На обеде На концерте На балете На выставке На опере На уроке На лекции На Востоке На западе На севере На юге На улице На проспекте На площади На море (отдыхать) На природе (отдыхать) На пляже На почте На стадионе На заводе На фабрике На предприятии На вокзале На остановке
6.8 This is a page from Roman’s diary. Write in sentences what he is doing each day. 3 Понедельник
реча 9.30 Вст е от б a p a н
6 Четверг
бол 18:30 фут
4 Вторник
7 Пятница
е
19:00 Aнна - в бар
Read the following dialogues.
а
иклиник
7:30 Пол
18
(On CD: Track 28- 30.)
8 Суббота 9 Воскресенье дения
День рож Ивaнa!
6.11
6.9 Мальчик: Что делаешь сегодня
вечером? Девочка: Вечером я играю. Мальчик: О, я тоже играю. Ты во что играешь? Я играю в футбол. Девочка: А я играю на скрипке. Мальчик: А, ты музыкант? Девочка: Да, а ты спортсмен? Мальчик: Да.
6.10
5 Среда
тбол :30 фу
– Добрый день! Как ваши дела? – О! Здравствуйте! У нас всё хорошо, а у вас? – Ой, у нас тоже. Вот, Миша играет на скрипке. – А наша Оля играет на контрабасе. – А как часто? – Она играет в понедельник, в среду и в пятницу. А в субботу обычно играет в консерватории на концерте. Оля играет на контрабасе уже 4 года. – Ой, наш Миша играет только 2 года. Но он играет 3 часа каждый день. – Ну, до свидания, до встречи в школе. – До свидания!
are Grammarc Squ or games? To play - musi
– Давай, давай! – Да, твоя команда плохая. И играет она плохо. – Это почему? – Потому что. Посмотри! Футболисты играют плохо, медленно. – Это твоя команда плохая! Смотри, это твои футболисты играют медленно и плохо. – Вот, вот, давай! Ну! – Нет, нет! – Гоол! Да! Гол!!! – Да, мои футболисты играют плохо.
Cпорт: играть + в
Играть в футбол, Играть в теннис, Играть в бадминтон, Играть в гольф, etc.
Mузика: играть + на
Играть на пианино, Играть на гитаре, Играть на барабане, etc.
4/2/2011 9:50:55 PM
6.1 Ha or B? - Fill in the text. 1. Профессор читает лекции ___ аудитории. 2. Они смотрят балет ___ театре. 3. Генрих работает ___ фирме. 4. Муж пьёт пиво ___ баре 5. Ольга сейчас ___ обеде. 6. Где твои родители? – Они ___ юге. 7. Инна смотрит фильм ___ кинотеатре. 8. Мы и наши друзья отдыхаем ___ острове.. 9. Дети отдыхают ___ парке. 10. Твой кофе ___ столе.
6.2 Put the red words to the table. Ha
B
Испапии, стадионе, семье, юге, школе, востоке, России, сайте, клубе, работе, офисе, концерте, театре, бурже, ресторане, магазине, опере, встрече.
6.3. Translate the following sentences. 1. He often swims in the sea. 2. My grandmother lives in Murmansk, a city in the North. 3. I live in Aberdeen, in Scotland, at the sea. 4. What are you talking about? 5. She was in the news. 6. We don’t talk about her in the presence of Ivan. 7. Anton lives in Japan now. 8. How are things at work? 9. Vera always talks about him. 10. He wrote many poems about Siberia. 11. I want to tell you about the rules. 12. John will tell his plans about the business at the meeting. 13. I work in the bar at the airport in Novosibirsk. 14. I read about the island in a book. 15. They also sell books in the cafe on the street.
Some content featured from: Russian Course by Nicholas Brown, Penguin, 1996. and RT.com - Learn Russian! online language course.
6.4. Fill in the text (using the red words) 1. Раньше люди жили __________________ , а сейчас живут __________________ . 2. Раньше рыбы жили __________________ , а сейчас живут ___________________ . 3. Раньше тигры жили _________________ , а сейчас живут ____________________ . 4. Раньше менеджеры жили _______________ , а сейчас живут _______________ . 5. Раньше Дж. Буш жил __________________ , а сейчас живёт __________________ . 6. Раньше Дмитрий жил __________________ , а сейчас живёт _________________ .
в пещере, в аквариуме, в Вашингтоне, в квартире, в зоопарке, в Москва, дома, в офисе, в море, в Tехасе, в Caнкт-Петербурге, в лесу.
The content was only used to present my graphic design for an educational brief. This has never been published in commercial use. //103
4/2/2011 9:52:55 PM
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QUIRKOLOGY EXHIBITION DESIGN, 2011
lloog y gy
This was my final brief for my Graphic Design course. I had to prepare the complete design material of a science exhibition themed around “Quirkology”; the science of our everyday lives.
I ASSOCIATED TO “QUIRKY SCIENCE” TV SHOWS SUCH AS BRAINIAC AND MYTHBUSTERS, SO I USED AMATEUR CLOSE-UP PHOTOS OF EVERYDAY OBJECTS SUCH AS TOOTHBRUSHES AND RADIATORS TO REFLECT AN ALMOST MICROSCOPIC VIEW OF EVERYDAY LIFE. I thought the photos are also a good opportunity to illustrate the exhibition throughout, and I intended to keep this awkward, personal quirkiness to be represented with the signage system too. I was aware that it might be slightly distracting and not informative enough, so I tried to maintain the functions with the proportion of the photos.
ooggy
e lso keep th hasise a t u b s n e sig emp the ares for th teurish to
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INDUSTRIAL DIGITALLY PRINTED FABRICS FOR FASHION, 2010 I have created these digitally printed fabrics for a self-produced collection, on viscose jersey and cotton voile. I designed them for clothing and accessories, with the intention of keeping a continuity in textile production after my graduation in 2010.
THEY ALL FEATURE ELEMENTS OF THE SCOTTISH INDUSTRIAL LANDSCAPE AS IT CONTINUES TO INSPIRE AND INFLUENCE MY WORK. I have created these patterns entirely digitally of my own photographs. I wanted to correspond with the current trends of Autumn/Winter 2010, when photographic patterns were featuring in many collections.
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CUPPA
PACKAGING DESIGNS, 2010 This was a commercial brief during my graphic design course. My idea was to create the branding of a new range of coffee and tea products, sold for young adults. I named it CUPPA and created an informal verbal and visual language to appeal to young consumers.
coffee (ground)
5 110\\
(really quite strong)
tea (green) 25 bags
3
(quite mild, soft taste)
I DECIDED TO BE DIRECT, GIVING A FACE TO THE PRODUCT, WITH EXPRESSIONS ASSOCIATED TO THE EFFECT AND FLAVOUR OF THE DRINK. They strengthen a friendly attitude to the product and make it instantly recognisable. I took extendability into account as well, to make space for a wide potential range of products. I tried to make an environmentally friendly design as well by creating a four sided sleeve of recycled paper to wrap around the vacuumpackaged coffee. My research on packaging designs has found that most of the words on tea and coffee packaging emphasise the health benefits, or the place of origin of the product, words such as “classic”, “pure”, “rich”, and “smooth” were associated with these products. I was looking for something different, a bold, direct language that was already in place on other products (shower gels, soft drinks), I aimed to bring this audience close to my coffee and tea range.
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“ABERCALDY”
COLLECTION OF TEXTILES AND CLOTHING, 2009
I created this collection of textiles during my internship at the Glasgow School of Art’s Centre for Advanced Textiles in 2009. The influence was obvious,
I WAS NATURALLY INSPIRED BY CHARLES RENNIE MACKINTOSH AND HIS WORKS. I WANTED TO INTERPRET HIS DESIGN ELEMENTS INTO A LOOSE, CONTEMPORARY URBAN ENVIRONMENT AND I PRINTED THEM ON JERSEY FABRICS TO CREATE A COSY, COMFORTABLE COLLECTION OF CLOTHES.
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AFTER I FINISHED MY INTERNSHIP AND THE FABRICS WERE READY, I mADE THEM INTO SIMPLE GARMENTS. THE SHAPE OF THE CLOTHING WAS DELIBERATELY LEFT STRAIGHT AND LOOSE TO EMPHASISE THE PATTERN AND TO MAKE THEM COMFORTABLE.
When the garments were ready, I asked my friend, Katalin Dovydénas to wear them as my model, and other friends, Réka Raffay and Gabi Vígh for their help to make professional photographs under my styling directions, and when the photos were ready, I created a brochure of them, using the graphic elements of my patterns.
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PLANT
Publication design, 2008 The idea for PLANT was born from a series of photographs by my photographer friend, RĂŠka Raffay. She took a series of pictures of indoor plants for a photo study, and I asked her to use them, to develop them further into typographic pages.
It was greatly influenced by early â&#x20AC;&#x2DC;00s, minimalist graphic design, and I also used bold colours and Helvetica as a helping tool to achieve visual simplicity, but I also intended to make it selfindulgent and design-centred, as I was interested in how indoor plants, as parts of an interior design can be applied to a two dimensional space. It was featured as part of a Photography-Typography exhibition in the Contemporary Architecture Centre of Budapest, Hungary in 2009.
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LETTERNS Typographic patterns, 2008
This series of patterns were created for a brief in my textile design degree course. The task was to create a set of monochrome patterns, using only a single letter in a given typeface which was imitating Oriental letters.
my choice was the letter “W” as I immediately saw the opportunity of mirroring it into an interesting shape that resulted in bold patterns with a retro atmosphere, reminiscent of op-art. I have enjoyed the combination of typography and textile design so much that I am planning to create a series of different patterns on the same principle and I made up the word “lettern” for it, merging letter and pattern together.
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GRAPHABRICS Digital patterns, 2008.
I created these plain patterns for a collection of fabrics as a student of textile design. I was inspired by the physical appearance of radio waves and the electric impulses they create. I wanted the result to be plain and minimalistic, with some amount of playfulness in it, but keep thin, fine lines as the main element of surface design.
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Mathematical and physical structures are always patterns themselves and I wanted to take advantage of this to place them on fabrics.
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EMPTY SPACE (FOR KINGOMAR)
EP COVER AND TYPEFACE DESIGN, 2007
As a student I was keen to practice my design skills and I approached unsigned bands on MySpace to offer them artwork designs for free. I created this artwork this way in 2007 for a Liverpool-based music group for their first EP. They needed a logo and I created a typeface for them which I named “Empty Space”. The music was similar to Kasabian’s I thought and to correspond with the electronic sounds in the music, I wanted to create a minimalist look for them.
I WAS EXPERIMENTING WITH THE MINIMUM AMOUNT OF LINES THAT ARE NECESSARY TO READ A TEXT. To do this with the font body would have made the text illegible so I used a bold body with outlines instead. The result was this typeface which I used for other projects later.
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BIRTHDAY CARD GREETINGS CARD DESIGN, 2007
I MADE THIS LITTLE BOOKLET FOR a FRIEND FOR HIS BIRTHDAY IN A BOLD, CHILDRENâ&#x20AC;&#x2122;S BOOK STYLE. I WANTED TO CREATE A LITTLE GAME, THAT ENDS WITH THE BIRTHDAY WISHES.The story is simple,
I hand-cut each page in the middle, shading and shrinking towards the last one, depicting a different source of light until the last page, which is a birthday candle, containing the customisable birthday message.
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QUALIFICATIONS Fashion & Textiles Design MA, Heriot-Watt University //2017 Graphic Design BA, University of Hertfordshire (Interactive Design Institute) //2011 Product Designer in Light Industry Engineering BSc, University of Ă&#x201C;buda, Budapest, Hungary //2010
AWARDS The Textile Society, Postgraduate Student Award //2017 Presitigious Textile Award (Bradford Design Competition P2 category) Commendation // 2017 Visualising Corruption, Transparency International UK 2 nd prize //2013 Prosperity Illustrated, The Legatum Institute 2 nd prize //2013 The Conqueror Typographic Games, ArjoWiggins 3 rd prize //2012
CONTACT postbox@zitakatona.com www.zitakatona.com
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© ZITA KATONA 2019