Two grey circles walk into a bar. Ferns in Derrynane House, Caherdaniel, Co. Cork, Ireland.

About

Distinctive Repetition is an award-winning independent Dublin-based graphic design studio. The studio practices design primarily in the disciplines of graphic identity and print media. Our work is driven by three core principles: education, experimentation and creativity, influenced by the desire to understand the fundamentals of every brief and assess them against our capabilities. We take the time to investigate the range of possible outcomes and production methods inherent in any brief. To this end the studio produces design work outside its core areas of practice, applying the philosophy that the role of the designer is to solve problems and the role of the graphic designer is to make visual communication engaging.

Contact

The studio works mainly on a project by project basis and we are always interested in new challenges. If you would like to discuss a potential project please feel free to get in contact with us:

info@distinctiverepetition.com
+353 1 668 9270

Recognition

The work of Distinctive Repetition has been recognised by the Institute of Creative Advertising and Design receiving ICAD awards across numerous disciplines. Projects from the studio have been included on an annual basis in the 100 Archive, Ireland's national design archive. The studio’s work has been profiled and published across various volumes and international publications. Books designed by Distinctive Repetition are held in the special collection archives of UCD, University of Notre Dame and the Welsh National Library.

Disciplines

Our output focuses on the creation and implementation of graphic design identities and systems for a wide range of commercial and cultural sector organisations with the scope of our project work including design for packaging, print media, editorial and spatial design.

14.09.2018

Bye bye Jo, we hope you have learned as much from us as we have from you.

11.08.2018

A new dawn, a single moment, forever changed.

30.07.2018

Distinctive Repetition are pleased to welcome Joanne Joho to the studio. Jo has joined us for a short internship before returning to Geneva for her final year of college.

26.05.2018

Distinctive Repetition was proud to receive recognition of its work for Rua Red Gallery Tallaght, Fingal Arts and New Dublin Press at 2018's ICAD Awards. Project work for Rua Red and Fingal Arts received Bronze ICAD awards with our design for New Dublin Press publication Cabaret receiving a commendation.

Ferns in Derrynane House, Caherdaniel, Co. Cork, Ireland.
The Music for Empty Ears album artwork, a 12 inch vinyl record cover with rice paper sleeve.

Music for Empty Ears

Funded by the Arts Council and launched in April 2018 by Ergodos Records at the Project Arts Centre, Music for Empty Ears is Seán Mac Erlaine's third album. It features Norwegian musicians Jan Bang and Eivind Aarset and Irish vocalist Sadhbh Ní Dhálaigh. The final design for Music for Empty Ears ultimately brought us back to the first conversation that was had with Seán Mac Erlaine regarding his beautiful album.

Having known Seán for some time we found ourselves standing on the beach head at the northern end of one of Wicklow’s most quietly beautiful lakes, Lough Dan. For many years Seán and myself have had our own relationships with the lake. For me lough Dan has always been a place that I have associated with my family and friends. I have spent many years since I was a child walking it’s surrounds. I have camped by its shores from a young age, canoeing on the lake with my uncles and attending scout jamborees with my friends. On many a night I have sat by a camp fire and admired the silence of that space and stared at the stars.

Produced for Seán Mac Erlaine, 2018.

www.seanmacerlaine.com

Graphic Identity, Packaging Design

The Music for Empty Ears album artwork, a 12 inch vinyl record cover with rice paper sleeve.
The reverse of the album artwork, with track listing and ergodos catalogue number ER28 visible.

At the apex of the western hillside of the lake there is a granite bench erected by friends in memory of a hill walker who revelled in that particular spot. Here you can sit and marvel at the lake in all of its splendour with each season providing a new version to admire. Below you to the northern end of the lake is the beach head and more often than not that is your destination. In the colder months you can generally camp there without being disturbed. And so we camped. To pass the time during the day Seán and myself along with some other friends played a game whereby we would each take turns throwing small stones into the still water. While one player would throw a stone and create a ripple the objective for the other three was to try and get their stone as close to the centre of where the first stone had hit the water and to do so before the initial ripples disappeared. Whose stone came closest and thereby won a point was decided by the initial thrower with this responsibility rotating amongst the group until a player had amassed nine points. I would like to remember it as if I had won but I can’t honestly stand over that claim.

We worked with Seán for close to three months after that game developing visual ideas, informed by the core aspects of his approach to creating the album. Along the way we had conversations concerning all manner of considerations and ideas that we wanted to instill in the album covers artwork. We arrived at various solutions that never seemed quite right for the project. Ultimately we found ourselves at a point where we needed to deliver and further procrastination was not an option. It was at this point that we went back to the game. 

Sometimes the answer for a project is actually there at the beginning and the work your undertake along the way is an exercise in confirming that it is indeed the right one. That as simple as it may seem the fact is that the forms created by the ripples in the water and the way in which they visually intersected perfectly encapsulated the deep thoughts behind Seán’s work and Music for Empty Ears as a piece.

Bespoke album cover printed using three spot colours front and one spot colour reverse. Printed on 330gsm box card.

A close up of he Music for Empty Ears cover, with the artists name; Seán Mac Erlaine.
The Music for Empty Ears album artwork was produced on a custom die cut packaging in keeping with the tone of the project.
An animated version of the albums graphic system. Similar animations were used at the album launch, projected on two custom built wooden frames.

Produced for Seán Mac Erlaine, 2018.

www.seanmacerlaine.com

A close up of the Practice and Power poster showing the location of the event, Dublin, Ireland.

Practice and Power

“A transnational event exploring questions of nego­tiation, exchange and representation in contemporary collaborative arts practice. Practice and Power was the major dissemination event of the four year Collaborative Arts Partnership Programme (CAPP). The Collaborative Arts Partnership Programme (2014 – 2018) was an ambitious transnational cultural programme, funded by Creative Europe, which focused on the dynamic area of collaborative arts.”

Produced for the Collaborative Arts Partnership Programme (CAPP) and Create National Development Agency for Collaborative Arts.

www.cappnetwork.com
www.create-ireland.ie

Graphic Identity, Print Design, Editorial Design

A close up of the Practice and Power poster showing the location of the event, Dublin, Ireland. The front of the Practice and Power poster in its entirity, on roll over the schedule and all other information is revealed on the rear of the poster typeset in four columns.

In Dublin over three days in June 2018 the major project stakeholders from Europe along with nearly 200 attendees from both national and international arts and culture sectors took part in the Practice and Power event. The studio was commissioned by Create to design the event's identity and associated printed media.

Two booklets which were produced for the Practice and Power exhibitions, the festival Programme and CAPP Cartography: Frequently Asked Questions by Suzanne Bosch.

Our work for the project was informed by numerous conversations we had with the project team. Initially it was proposed that our work would be an effort to graphically map the connections and engagement over a four year period of the various galleries and cultural institutions that collaborated on the project. Running alongside this was the want of the commissioner to create a bold and striking identity for the event that expressed the energy of all involved.

In researching ways to develop an appropriate mapping solution and in turn express this simple idea, we spent a great deal of time looking at the work of Nikola Tesla and in particular the Tesla Coil and the remarkable pattern forms of electricity created from this instrument. Tesla has been described as an artist whose medium was electricity. For the commissioner, exploring a graphic approach based on the combination of these two visual ideas was entirely apt. Ultimately the decision was made to treat the map as an abstract representation of the stakeholders interactions and in doing so speak to the nature of the projects subject matter, art.

A page spread from the Power and Practice Programme showing events in the IFI Irish Film Istitute, CAPP 2 Curved Street and the Irish Architecture Foundation. A detail of the CAPP Create graphic which was built for this project. A fine grid allows for flexibility and freedom.

Produced for the Collaborative Arts Partnership Programme (CAPP) and Create National Development Agency for Collaborative Arts.

www.cappnetwork.com
www.create-ireland.ie

Lithographic poster using process orange and 871U gold pantone colours for Land Sea Signal at Rua Red, Ireland.

Land/Sea/Signal

For the second year running the studio was commissioned by EUCIDA (European Union Connections in Digital Arts) and Rua Red Gallery, Tallaght, to produce the graphic identity and print media work for their annual exhibition. Land/Sea/Signal was shown in Ireland, France and Latvia with artists from each of these countries contributing work to the exhibition, curated by Nora O’ Murchú.

Produced for EUCIDA (European Union Connections in Digital Arts) and Rua Red Gallery, Tallaght, 2018.

www.eucida.eu
www.ruared.ie

Graphic Identity, Print Design, Editorial Design

Lithographic poster using process orange and 871U gold pantone colours for Land Sea Signal at Rua Red, Ireland.
Lithographic 16pp saddle-stitched booklet for Land Sea Signal at Rua Red, Ireland.

Land/Sea/Signal explored the “network infrastructures and algorithmic software systems alongside today’s internet infrastructures and their complex adaptive systems which encompass data centers, software protocols, mineral mines and assembly line workers; connecting the flow of information beaming from satellites to the smartphones in our hands. By considering the complex entanglements between environmental and socio-political conditions that are involved in the configuration of infrastructure space, the artists in this exhibition sought to bring about a new understanding of infrastructure and its materialities. They connect to geography, protocols, economic markets and communication grids, building a discursive space of practice that aims to move beyond critical concerns of these issues to move toward the imagination and speculation of the potentialities of what infrastructure could be.”

An animated version of the Land Sea Signal dot based graphic system. Similar animations were used at the opening of the exhibition.
Spreads from the Land Sea Signal boooklet.

Our solution focused on a clear graphic system for the creation of the exhibition’s artwork. The design employed a dot matrix system of over 38,000 individually adjustable circles which were altered to create three individual compositions for the contributing countries’ exhibition material. Each composition was designed to reflect the three aspects of the exhibitions title, with the end result being compositions that abstractly represent the converging of land and sea using three distinct signals.

Spreads from the Land Sea Signal booklet showing the work of Santa France.

Produced for EUCIDA (European Union Connections in Digital Arts) and Rua Red Gallery, Tallaght, 2018.

www.eucida.eu
www.ruared.ie

The folded poster for Infrastructure, Fingal County Council's Public Art Programme 2017—2021.

Infrastructure

Fingal County Council is embarking on a new phase of public art commissioning utilising funds generated through the Per Cent for Art Scheme. Infrastructure 2017–2021 is a local, national and international opportunity open to artists from all disciplines.

Produced for Fingal County Council, 2017. Awarded Bronze ICAD, 2018. Selected for the Irish 100 archive, 2017.

www.fingalarts.ie/infrastructure

Graphic Identity, Print Design, Editorial Design

The folded poster for Infrastructure, Fingal County Council's Public Art Programme 2017—2021.
A spread from the Infrastructure booklet bears a quote from Agnes Martin: To be an artist you have to move. When you stop, you are no longer an artist.

We worked closely with Fingal County Council’s Public Art Co-ordinator Caroline Cowley to develop the graphic identity and accompanying printed media for this ambitious public art program. As the program sets out to commission entirely new artworks across four distinct strands we had no existing photography or project artwork with which we could work. The commissioner allowed us to create a unique identity using only form and typography. The identities logo which forms the seed for all of our designs is an abstract representation of a layered infrastructural form defined by a series of four interlocking sections intended to illustrate the program’s four strands.

An animated version of the infrastructure logo shows how it builds itself. The infrastructure poster in its entirity, this B1 poster was printed in four fluoro pantones on off white paper to represent the four strands of the programme.
A spread from the Infrastructure booklet with a quote from Samuel Beckett's poem, Fingal: The Naul! Is it possible that you didn’t know the Naul? You don’t say you were in Milan and never saw the Cena!

A unique colour palette was selected by the commissioner to represent the strands and was then implemented into our designs to create a series of abstract compositions reflective of the commissioner’s taste and artistic influences.

Produced for Fingal County Council, 2017. Awarded Bronze ICAD, 2018. Selected for the Irish 100 archive, 2017.

www.fingalarts.ie/infrastructure

The Echo chamber poster was produced for three galleries across Europe, this image shows the pink poster created for Espace multimédia gantner, France.

Echo Chamber

Matthew Nevin, EUCIDA Curator in Residence for 2017, is taking the idea of an ‘Echo Chamber’ as the starting point for this project. An example of an echo chamber effect can be seen in social media where users engage only with people and media sources that share their particular beliefs and viewpoints. In this way the digital arts may sometimes seem like a medium which caters only to a specific tech-savvy audience. Our aim is to create an accessible Europe-wide dialogue on digital arts technology and its interpretation of politics, culture and society.

Produced for Rua Red Gallery, 2017. Awarded Bronze ICAD, 2018 as part of the Rua Red poster series.

www.ruared.ie

Print Design, Editorial Design

The Echo chamber poster was produced for three galleries across Europe, this image shows the pink poster created for Espace multimédia gantner, France. Additionally the poster was produced for Rua Red Gallery, Dublin, and Manoir Luznava, Lithuania.

The Echo Chamber exhibition ran concurrently across three European countries (Ireland, Latvia and France) in 2017, and for this reason our commissioners – Rua Red Gallery and EUCIDA – asked us to consider fundamental aspects when delivering the project’s identity, highlighting the collaboration among the three contributing galleries. As outlined by the commissioner from the beginning the project was produced on a restrictive budget, and as a result our design solution for both the exhibition identity and the printed media needed to visually communicate the central ideas of the exhibition across language barriers.

In our project research we explored the idea of an echo chamber in terms of the online digital world and within music. We created an abstract symbol to symbolise an echo chamber drawing on three sources representing the contribution of three distinct partners. The final symbols’ orientation is a direct geographical reference to the positions of the contributing galleries.

An animated version of the poster's imagery shows communication between the three galleries and countries. Helvetica was chosen as a strong typeface capable of producing the details required for this trilingual poster series. A close up of the Echo Chamber poster produced in 1/1 colour for Rua Red Gallery, Dublin.

Produced for Rua Red Gallery, 2017. Awarded Bronze ICAD, 2018 as part of the Rua Red poster series.

www.ruared.ie

Typographic detail of Glitch 2017 poster for Rau Red Gallery, Dublin and Glitch Festival.

Glitch

Glitch Digital Arts Festival is held annually in Rua Red Gallery as part of the South Dublin Arts Centre program. With 2017 marking the fifth year of Glitch the studio was asked to create a new identity and accompanying print media assets for both the main festival and its subsidiary program, Glitchmaker.

Produced for Glitch Festival Dublin and Rua Red gallery, 2017. Awarded Bronze ICAD, 2018 as part of the Rua Red poster series.

www.ruared.ie

Graphic Identity, Print Design

Typographic detail of Glitch 2017 poster for Rau Red Gallery, Dublin and Glitch Festival.

Given the need for the creation of artwork on an annual basis the studio chose to focus on core aspects of the festival’s identity with a view to developing for the festival a visual language that is consistent and relevant.
Our identity designs reflect a simplistic yet accurate programming ‘glitch’. This is manifested in a minimalist ‘broken’ typographic treatment for the festival’s master mark.

Glitch Poster for Rua Red 2017. Glitch logo animation

We further developed these concepts by adding a distinct colour palette for all of the festival artwork. RGB tones were represented across the media using appropriate fluoro Pantones. In the early stages of development we spoke at length with the project team about our concepts for the poster work and what we wanted to achieve. The resulting design featured a simple typographic poster that was ‘broken’ by inserting visual glitches determined by computer error.

Glitch Booklet nothing. Glitch typography detail.

Produced for Glitch Festival Dublin and Rua Red gallery, 2017. Awarded Bronze ICAD, 2018 as part of the Rua Red poster series.

www.ruared.ie

Spread from the Core Project Booklet, curated by Matthew Nevin.

Core Project

Throughout 2017 we have worked closely with the team at South Dublin Arts Centre and Rua Red Gallery to develop a consistent approach to the creation of both their exhibition identities and print media output. The Core Project launched in August 2017 is the latest project we have worked on for the gallery.

Produced for Rua Red gallery, 2017. Awarded Bronze ICAD, 2018 as part of the Rua Red poster series.

www.ruared.ie

Print Design, Editorial Design

Spread from the Core Project Booklet, curated by Matthew Nevin.
Spread from the Core Project Booklet, produced for Rua Red Gallery. Spread from the Core Project Booklet, produced for Rua Red Gallery.

The Core Project exhibition is a large-scale installation featuring over 150 videos from participants across the globe, filmed live and answering a question that they had not previously seen.

Spread from the Core Project Booklet, produced for Rua Red Gallery.
Spread from the Core Project booklet produced for Rua Red.

Our work for this exhibition saw us developing the galleries’ output, including a new booklet format. The booklets themselves were created by overprinting the exhibition content and an interview with the artist Matthew Nevin onto the exhibition’s A1 poster. We printed the poster using two spot colours and swapping out one of the printing plates with new content before folding the poster down to A5 and saddle stitching. The posters featured imagery from the project’s participants which when folded down, resulting in the creation of abstracted page spreads married with a refined approach to typography.

Produced for Rua Red gallery, 2017. Awarded Bronze ICAD, 2018 as part of the Rua Red poster series.

www.ruared.ie

ICAD Call for Entries 2017

Our brief from ICAD was to design a striking poster that would be distributed to their membership as well as design and advertising agencies and studios throughout Ireland to announce the annual awards submission process. The brief itself was left somewhat open in terms of its graphic design, albeit with a number of considerations: to deliver it within a tight budget, to focus on the ICAD bell as an aspect of its design and for it to be considered the first building block in a larger identity project for the 2017 awards program.

Produced for the Institute of Creative Advertising and Design, 2017. Selected for the Irish 100 Archive, 2017. Awarded Silver ICAD, 2017.

www.icad.ie

Print Design, Graphic Identity

This key graphic was created using a simple architectural perspective in order to bring texture and depth to the piece – a symbol that visually invites the viewer to ‘enter’. We then used this symbol as a unit from which we could create a strong yet abstracted typeface that would conform to the typographic grid we were designing for. A choice made early on in the project to screen print the poster (in order to add a greater sense of value) allowed us to further develop the typeface across four designs. This let us create a visually cohesive series whose individual posters were abstract enough to act as discrete designs yet clear enough to convey their respective content.

ICAD ‘call for entries’ posters were screen printed using four spot pantones over four designs on FSC-certified curious skin black 140gsm paper in editions of 40.

Down through the years work produced for ICAD has featured the ICAD bell in a variety of graphic manifestations, and while we were conscious to adhere to the commissioner’s request we also wanted to provide a new graphic take on the bell, allowing us to build a strong visual approach to our designs. We took an internal perspective on the bell, meaning that the main graphic reflected its proportions while reminding viewers that the reasoning behind a bell’s shape is relevant to its function: to make noise.

Produced for the Institute of Creative Advertising and Design, 2017. Selected for the Irish 100 Archive, 2017. Awarded Silver ICAD, 2017.

www.icad.ie

Three bottles of Third Circle Red Ale and a windowsill on Raglan Road, Ballsbridge.

Third Circle

Distinctive Repetition worked closely with Third Circle and its founding directors to create all of the visual assets surrounding the brand and its initial implementation. The studio created the Third Circle identity toward the end of 2014 and spent the following years overseeing the brand’s printed assets.

Produced for Third Circle Brewing, 2015. Awarded Silver ICAD, 2016. Selected for the Irish 100 archive, 2015.

www.thirdcircle.ie

Graphic Identity, Packaging Design

Three bottles of Third Circle Red Ale and a windowsill on Raglan Road, Ballsbridge.
Three bottles of Third Circle Saison and a windowsill on Raglan Road, Ballsbridge.
Three bottles of Third Circle Rye Stout and a windowsill on Raglan Road, Ballsbridge.

Third Circle is an independent microbrewery that has its beginnings in Kilcoole, Co. Wicklow, where Third Circle director and brewmaster Jon Grennan grew up. Much like other craft beer enthusiasts, Jon spent several years home brewing, all the while developing a passion for the craft. With his background in freshwater biology, Jon has always taken a scientist’s precise approach to brewing his beer, mixing this with a healthy disrespect for convention.

Our priority for Third Circle was to create a simple yet unique label that clearly identified them within their rapidly expanding marketplace. Third Circle’s label carries the brand’s logo (foil blocked) as its main visual asset, with the company’s various beers being identified by their own individual mark. Each mark is designed to represent the beer’s primary ingredient in a clean and modernist fashion.

For each new beer the company created we rotated the colour of the foil block to best represent the beer in question and develop a new symbol accordingly. This approach kept the label fresh and allowed for individual beers to be easily recognised through both colour coding and iconography, while being printed in a cost effective and sustainable way – the latter being a fundamental aspect of our original brief.

Produced for Third Circle Brewing, 2015. Awarded Silver ICAD, 2016. Selected for the Irish 100 archive, 2015.

www.thirdcircle.ie

Resort Revelations poster 2016 with metallic and fluoro ink combinations.

Resort Revelations

Resort Revelations is the combined output of artists who have completed the Fingal Arts artist residency project located at Lynders Mobile Home Park on the Portrane / Donabate peninsula. In acknowledgement of the importance of time to the incubation of the site specific idea the residency is offered in two parts: an initial visit and a return research development and production phase. This year the artists have continued their enquiry into the very depths of this concept, drawing on history, fiction, geology, communication and community. Resort Revelations provides a platform to make the artists’ experience of the area visible to the local and wider audience.

Produced for Fingal County Council and Fingal Arts, 2016. Commended, ICAD awards 2017.

www.fingalarts.ie

Print Design, Editorial Design

Resort Revelations poster for Lynders Mobile Home Park, Portrane. Resort Revelations poster 2016 with metallic and fluoro ink combinations.

Distinctive Repetition was commissioned by Fingal Arts to design a poster to both showcase the residents’ processes and serve as a schedule for Resort Revelations events. The studio worked closely with photographer Brian Cregan and writer Suzanne Walsh to create a piece that explored the area of Portrane. Suzanne was commissioned to write a piece of text while on residence to commemorate the program entitled ‘Who will silence them at last’. Embedded in the piece are a series of fragments from the Samuel Beckett short story ‘Fingal’ published in 1934 and quotes from an undelivered letter written by a patient in St Ita’s hospital in 1912.

Our design for the piece was implemented as a B1 poster divided into four visual sections. The sections respectively contained the program information, Suzanne’s piece, Brian’s photograph and a minimalist graphic overlay of a dotted grid. The patterned grid appears on the side of the mobile home that is used for the residency. As part of the piece’s overall design we printed Brian’s photograph in its entirety using both the front and back of the poster. The full B1 sheet was then cut down into two sections that carried all of the poster’s information on either side. The resulting image was effectively cut in half, providing two finished schedules with a different section of the image on their reverse.

Resort Revelations poster being read at Lynders Mobile Home Park, Portrane. Resort Revelations poster for Lynders Mobile Home Park, Portrane.
Resort Revelations poster photography by Brian Cregan. Resort Revelations poster photography by Brian Cregan.

Our work with photographer Brian Cregan involved investigating various locations around Portrane before selecting a local cave that was to be used in a performance by artist Alan James Burns during the showcase. The cave’s deep-red-coloured rock formations are unique to the area, a result of the peninsula’s volcanic geology. Our intention in selecting the cave was to reflect the sentiments of the residency by looking more closely at the surrounding area. We used a highly detailed and abstract image photographed by Brian using a Mamiya RB67 Pro SD with Kodak professional 100 Ektar film, creating a photograph of incredible depth and richness of colour.

In order to retain the richness of the image’s colour we swapped out the standard process cyan, magenta and yellow inks and replaced them with their fluro Pantone equivalent. Finally we printed the grid over a section of Brian’s image on both the front and back of the poster using a metallic ink which added a layer of depth to the photography and reinforced the idea of looking deeper to find something that may at first be obscured.

Produced for Fingal County Council and Fingal Arts, 2016. Commended, ICAD awards 2017.

www.fingalarts.ie

Tackling Violence, Building Peace Booklet for Christian Aid Ireland.

Christian Aid

We have worked with Christian Aid over the last number of years with a view to providing a greater sense of visual identity for the Irish-based section of the charity.

Produced for Christian Aid Ireland, 2016.

www.christianaid.ie

Graphic Identity, Editorial Design

Tackling Violence, Building Peace Booklet for Christian Aid Ireland.
Tackling Violence, Building Peace Booklet for Christian Aid Ireland.

Christian Aid’s work spans the globe as the development organisation pursues its ultimate goal of ending poverty. In 2016 Christian Aid Ireland took the global lead for the international charity’s Tackling Violence, Building Peace program, launching its global strategy for this campaign in Dublin in November of that year.

In our work with Christian Aid we create visual communication informed by both its heritage and goals while being contemporary in its design and implementation, working with the charity to introduce a new style and format for its published content, encompassing magazines, reports, strategy documents, etc. Our design proposals include the creation of a single format for each publication, ensuring that each is environmentally and economically sound.

Tackling Violence, Building Peace Booklet for Christian Aid Ireland.

The format designed for the charity allows for prediction of publication costs while reducing unnecessary printing and creating a consistent visual and physical output for their work. As work progresses we establish essential rules governing typographic style, use of existing imagery and creation of new imagery and graphics, and in implementing a style we spend a great deal of time researching and developing our approach to communicating the charity’s overall identity.

To complement our designs for the report we commissioned new photography by Dublin photographer Sean Breithaupt. We chose to focus on the ‘peace’ element of the report’s title by producing a series of images of sunflowers. This formed the overall backdrop for the report’s design and launch event, utilising a positive image with both a fundamental Christian relationship and a universal contemporary message.

Tackling Violence, Building Peace Booklet for Christian Aid Ireland. Tackling Violence, Building Peace Booklet for Christian Aid Ireland.
Tackling Violence, Building Peace Booklet for Christian Aid Ireland.

“Violence and conflict affect almost one fifth of the world’s population or 1.5 billion people. The daily fear, uncertainty and suffering borne by people living through violent conflicts is immeasurable and unimaginable.

The fact is most of the world’s poorest people live outside any form of protection, and remain vulnerable not just to war and conflict, but to violent criminal organisations, gender-based violence, police abuse, forced labor and violent theft of land and assets.

‘Tackling Violence, Building Peace’ is Christian Aid’s pledge to work tirelessly and collectively towards a safer future that secures justice and human rights for all”

— Rosamond Bennett, CEO, Christian Aid Ireland

Produced for Christian Aid Ireland, 2016.

www.christianaid.ie

Letterhead and Business card for Epoché.

Epoché

Epoché is the professional practice of child educational psychologist Patrick McCaughey. We worked with Patrick to develop a strong and measured identity for his practice.

Produced for epoché, 2016.

www.epoche.ie

Graphic Identity, Print Design

Letterhead and Business card for Epoché.

Our work included assisting in the naming of the practice as well as developing its traditional corporate identity assets. Having researched various possibilities, the word ‘Epoché’ was arrived at by Patrick: ‘Epoché is an ancient Greek term which, in its philosophical usage, describes the state where all judgments about non-evident matters are suspended.’ Given Patrick’s background in education and in classical Greek studies the name felt incredibly apt for the practice.

Fundamental to our brief was the fact that Epoché’s identity would have to cover a large number of areas. The practice’s work spans a wide-ranging number of services and so our identity solution needed to be highly adaptable. We wanted to create a logo for the identity that could grow into a sequence of logos and also reflected our client’s beliefs and philosophies of practice.

Epoche logo animation
Letterhead and Business card for Epoché.

We created a logo based on the kaleidoscope, which when directly translated means ‘beautiful form’. Designing a system for the logo based on the mathematics of the kaleidoscope means that Epoché’s logo can take an infinite number of forms depending on the elements within it, while at the same time retaining its fundamental structure and visual form. Furthermore the logo itself is an acknowledgement that every human being is individual; there are sometimes slight, sometimes great differences between each of us, yet regardless of those differences we all deserve to be treated equally.

Produced for epoché, 2016.

www.epoche.ie

Waves poster for Fingal County Council and Superprojects.

Waves

Waves is a partnership program between Fingal Arts Office and Cleo Fagan, curator of Superprojects. The project has seen Irish artists Clodagh Emoe, Sean Lynch, Ruth Lyons and Eoghan Ryan devise a series of compelling workshops for second-level students in response to the rich context of the 1916 centenary.

The studio was commissioned by Fingal Arts and Superprojects to create a limited-edition poster that would serve as a commemorative graphic piece for the project. Our brief was incredibly open and straightforward; the project commissioners specifically requested we produce a stand-alone piece of design that would complement the work completed on the project to date.

Produced for Fingal County Council, 2016. Awarded Bronze ICAD, 2017. Selected for the Irish 100 Archive, 2017.

www.fingalarts.ie

Print Design

Waves poster for Fingal County Council and Superprojects.
Waves poster for Fingal County Council and Superprojects.

Printed using three-process colour and two spot Pantones on FSC-certified Olin Regular Cream.

Our design goal was to produce a striking piece of poster design that reflected energy and movement in a simple abstracted style, with the project’s title being our focal point. Various wave frequencies were explored and expressed visually using a vibrant colour palette and attention to detail in both the overall compositional work and the printing methods used in the poster’s production.

Alongside our design work, Fingal Arts commissioned a new text by artist and writer Sue Rainsford (titled ‘Disperse’) concerning both the overall project and the themes explored by the participants and artists throughout its workshops. Our finished design incorporates Sue Rainsford’s text undisturbed and in its entirety on the poster’s reverse.

Waves poster for Fingal County Council and Superprojects.
Waves poster for Fingal County Council and Superprojects.

The final composition for the poster was completed on the afternoon of Sunday 24 April 2016, the significance of the date only truly becoming apparent after the work was completed. This commission gave us an opportunity to reflect on the remarkable courage, strength and perseverance of individuals who contributed to the creation of our unique nation.

Produced for Fingal County Council, 2016. Awarded Bronze ICAD, 2017. Selected for the Irish 100 Archive, 2017.

www.fingalarts.ie

Spread from Imagines, New Dublin Press.

Imagines

‘Imagines is an edition from New Dublin Press that gives one faith in the ability of artists from different genres to meet with a common cause to deliver a certain enlightenment on a subject that might at first seem obscure, but in fact touches upon contemporary reality. Every little detail on every page is astonishingly beautiful and out of the ordinary. One cannot fail to sense the ultimate care and love which has gone into this production’.

Barry Guy and Maya Homburger,
Festival Directors, Barrow River Arts

Produced for New Dublin Press, 2015. Awarded Silver ICAD, 2016. Selected for the Irish 100 archive, 2015.

www.newdublinpress.org

Editorial Design, Graphic Identity

Spread from Imagines, New Dublin Press.

The studio developed a bespoke geometric musical typeface for Imagines. Benjamin Dwyer’s score was then re-created using this new typeface, giving the project a unique identity. A strict baseline grid was created and adhered to for the entire project, forming the basis for the book’s layout and composition.

Spread from Imagines showing custom music typeface.
Spread from Imagines, New Dublin Press. Photography of Achill sky taken for Imagines, New Dublin Press.
Covers of Imagines, New Dublin Press.

The photography for Imagines was taken by the studio in October 2014 on the island of Achill, Co. Mayo. The compositional work and poetry that form the basis of the project were produced by Benjamin Dwyer and Kimberley Campanello while in residence at the Heinrich Boll cottage on Achill island.

‘This is how performance, composition, poetry, sculpture, sketches, field work can all interact to create a work of art.’

— Jonathan C. Creasy, Director, New Dublin Press

Produced for New Dublin Press, 2015. Awarded Silver ICAD, 2016. Selected for the Irish 100 archive, 2015.

www.newdublinpress.org

Azouro olive oil bottles.

Azouro

The studio was commissioned by Azouro founder Stephen Firth to design and implement this new brand’s identity. The first milestone in the brand’s application came in late 2014 when Azouro’s new bottle arrived from Portugal.

Produced for azouro, 2014. Awarded Bronze ICAD, 2015. Selected for the Irish 100 archive, 2014.

www.azouro.com

Packaging Design, Graphic Identity

Azouro olive oil bottles. Azouro olive oil bottles.

The studio was asked to create the identity and consequently a bottle design that reflected the culture of the oil’s country of origin, Portugal. A cornerstone of the client’s brief was to take inspiration from Portugal’s unique heritage of decorative tiling used extensively within its architecture. Our designs were intended to reference this cultural aspect while at the same time providing an abstract design that conveys the fluidity of the actual product, PDO olive oil. Significant consideration was given to how the bottle(s) would eventually be displayed in the marketplace. To this end the pattern’s design was developed to create a continuous effect when displayed in multiples.

The sources of Azouro, olives in Minho, Portugal.
Azouro olive oil bottles. Azouro olive oil with fresh bread, salad and tomatos.
Azouro olive oil bottles.

The bottle’s 360° design was a first for the studio and the bottles’ printers. During the development process the printers excelled in their dedication and patience, developing their own new printing techniques in order to ensure our design was implemented to the high standard we had envisioned for the project.

Produced for azouro, 2014. Awarded Bronze ICAD, 2015. Selected for the Irish 100 archive, 2014.

www.azouro.com

Laghdú CD cover for Caoimhin O Raghallaigh and Dan Trueman.

Laghdú

Two specific fiddles, two specific players, one specific outcome. The primary request when creating the design for Laghdú’s album cover was to produce something that could stand alone as a piece of art, where information takes second place to overall composition. The materials and methods used in the production of this piece juxtapose both a distinctive tactility and importantly a responsibility toward the environment in the way it was printed by our colleagues at Generation Press England.

Produced for Dan Trueman and Caoimhín Ó Raghallaigh, 2014. Awarded Bronze ICAD, 2015.

www.irishmusic.net

Packaging Design, Graphic Identity

Laghdú CD cover for Caoimhin O Raghallaigh and Dan Trueman. Laghdú CD cover for Caoimhin O Raghallaigh and Dan Trueman.
Laghdú CD cover for Caoimhin O Raghallaigh and Dan Trueman. Laghdú CD cover for Caoimhin O Raghallaigh and Dan Trueman.

The integral and unique relationship between Dan Trueman and Caoimhín Ó Raghallaigh that makes the album what it is ultimately provided the focus for its design. They speak using the ten strings of their Hardanger d’Amore fiddles, and the sounds created by the players endlessly cross, expand, redirect, contract and ultimately lessen. Laghdú is a conversation between friends, and the cover is our attempt make visual that conversation.

Custom 220mm x 280mm CD sleeve, Printed one spot pms on 650mic 100% recycled Cairn Board Charcoal, Finished single bespoke die-cut and blind emboss.

Produced for Dan Trueman and Caoimhín Ó Raghallaigh, 2014. Awarded Bronze ICAD, 2015.

www.irishmusic.net

Poster and booklet design for Mobile Art School.

Mobile Art School

Mobile Art School runs artist-led workshops and in-school artist residency programs that connect artists, students and schools in a shared educational and creative context that is always evolving and dynamic. Mobile Art School provides a structure of communication and elucidation between artists and schools, and a lateral conduit between contemporary art networks and new audiences, which extends from participating students to their parents, families and wider communities.

Produced for Mobile Art School, 2013. Commended, ICAD awards 2014. Selected for the Irish 100 archive, 2013.

www.mobileartschool.org

Print Design, Graphic Identity, Editorial Design

Poster design for Mobile Art School.

The identity created focuses on the collaborative processes of the project. The Mobile Art School seeks to create a connection between contemporary artists and educators through the programs it develops. The ability to create a diverse range of unique programs gives the project its mobility, and to reflect this diversity and structure the studio developed a simple process for creating a logo using three elements.

Booklet design for Mobile Art School.
Poster design for Mobile Art School.

B1 poster printed both sides three PMS Colours on 70gsm Olin smooth. Booklet information overprinted and finished as a B5 32pp self cover.

Poster design for Mobile Art School. Booklet design for Mobile Art School.

Produced for Mobile Art School, 2013. Commended, ICAD awards 2014. Selected for the Irish 100 archive, 2013.

www.mobileartschool.org

Children's Mental Health Coalition report designed by Distincitve Repetition.

Childrens' Mental Health Coalition

Someone to Care: The Mental Health Needs of Children and Young People with Experiences of the Care and Youth Justice Systems is a 208-page report into the experiences of young people who have found themselves within state care and youth justice systems in Ireland. This extensive report examines the impact current state systems have had on the lives of these young people.

Produced for Chldren's Mental Health Coalition, 2013. Commended, ICAD awards 2014. Selected for the Irish 100 archive, 2013.

Editorial Design, Graphic Identity

Children's Mental Health Coalition report designed by Distincitve Repetition. Children's Mental Health Coalition report designed by Distincitve Repetition.
Children's Mental Health Coalition report designed by Distincitve Repetition. Children's Mental Health Coalition report designed by Distincitve Repetition.

The report employs the use of the CMHC logo (which is a green isosceles triangle) as the primary element in its graphic design. Using the triangle as a single base unit and the children’s game of tangram as a structural influence, the report contains a series of colourful graphic compositions that divide each of its sections and internal chapters.

The compositions are intended to communicate the commissioner’s primary brief: ‘a report about children but not for children’. The typographic approach to the report had to be sympathetic to the way in which the report was written. Given that the report is a comprehensive piece of academic research its typographical layout had to be highly considerate of the way in which such information is traditionally imparted.

Children's Mental Health Coalition report designed by Distincitve Repetition.
Children's Mental Health Coalition report designed by Distincitve Repetition.

190mm x 285mm 208pp Thread-sewn report. Printed using three PMS colours on 100% recycled cyclus offset 100gsm internal pages and 400gsm cover.

Produced for Chldren's Mental Health Coalition, 2013. Commended, ICAD awards 2014. Selected for the Irish 100 archive, 2013.

Lithographically printed patterned paper with custom typeface for Dublin restaurant by Distinctive Repetition.

Restaurants

The studio has worked with a variety of restaurants, delivering design work that ranges from the creation of new identities and interiors to the implementation of our designs to the associated print media applications inherent in this sector. Our work has included the design and production of interior artworks, signage design and custom lighting features.

Lithographically printed patterned paper with custom typeface for Dublin restaurant by Distinctive Repetition.
Lithographically printed patterned paper with custom typeface for Dublin restaurant by Distinctive Repetition.

As is the generally the case within this sector any design work completed is incredibly transient in its nature, with a constant request to deliver design solutions in short time frames on incredibly low budgets. Projects where designers can look to develop detailed design solutions can be implemented once and disappear without notice. Restaurants by their nature have to be constantly changing and evolving to retain the interest of their customers and working within or for this environment can be incredibly challenging. The featured project is a case in point.

We were asked to design branded paper for a south Dublin city restaurant in 2015, the purpose of which was multi-functional. The design could be used to wrap the restaurant’s products for taking away, and the A2 sheets could also be cut into smaller sizes for menu printing or in-house posters and, even further, the typographic patterned sheets could be used as A3 place mats.

Lithographically printed patterned paper with custom typeface for Dublin restaurant by Distinctive Repetition.

Our design solution for the project was to redevelop the restaurant’s chosen typeface. We spent a great deal of time redrawing it to create a more geometric and clean single-weight typeface whereby it could have new weights introduced through simple line changes. A core element of the work was to allow the typeface to work in more abstract typographic ways, where different characters could interlock to create playful compositions expressed in different colours and line weights, expanding on the existing brand identity.

We saw this as a straightforward brief that we could resolve in an interesting and cost-effective way as well as believing that it may end up being an element of print media for the restaurant that wouldn’t need to be changed.

Lithographically printed patterned paper with custom typeface for Dublin restaurant by Distinctive Repetition.