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‘Wasabi Sake’ logo & packaging.
‘Tough Tea’ Packaging
‘For the Good of the Colony’, Macnaught CD cover and poster.
Bookcover series for Raymond Chandler’s crime fiction novels.
BLUES2013
fest
feat.
d r o p k i c k m u r p h y s g l e n h a n s a r d w i t h t h e f r a m e s
t e d e s c h i t r u c k s b a n d f r a n k s t u r n e r & t h e s l e e p l e s s
s o u l s n e w t o n f a u l k n e r w i l l i a m e l l i o t w h i t m o r e
c r a i g p o t t e r p l a y i n g f o r c h a n c e b e n c a p l a n
B E N H A R P E R S A N T A N Ai g g y p o p & t h e s t o o g e sS t e v e m i l l e r b a n dc h r i s i s s a k w i l c o B o n n i e R a i t t
and many, many more to c�e...
Re-branding of Byron Bay Blues Fest.
BLUES2013
fest
28th March to 1st AprilBYRON Blues 2013fest
COLOUR
28th March to 1st AprilBYRON Blues 2013fest day1
Preferred Seating does not provide the information or services relating to entertainment or events displayed on this web site. All such information and services are provided by Pinpoint Pty Ltd ACN 002 693 656 ("Pinpoint",
"We" and "Us"). The following terms and conditions represent the agreement between the purchaser of tickets via this web site ("You" and "Your") and Pinpoint. Tickets to events acquired via this website ("Events") are issued by
third parties ("Promoters") promoting and/or providing venues for those Events. Tickets are usually sold by a Ticketing Agency (an "Agent"). The terms and conditions regulating the rights and obligations of the Promoter, the
Agent and holder of tickets are generally available from: The ticket; and/or Information published by the Promoter or its Agent.. In most cases, the Promoter and/or the Agent will be a member of the Australian Entertainment
Industry Association, trading as Live Performance Australia. Members of this Association using that membership as a endorsement are bound by the Associations Code of Practice for Event Ticketing reproduced below and
published at: http://www.liveperformance.com.au. The Live Performance Code forms part of these terms and conditions.Waitlist registration will expire 12 months from the date of registration. You may renew Your registration
at any time. In very few instances where demand for tickets exceeds supply we may not be able to satisfy all requests. Therefore it is important that you register early, re-register and update your contact information every 12
months. If tickets become available we will endeavour to contact you to make a booking should you wish to proceed.By booking a ticket, You represent and warrant to Pinpoint that You are an Australian resident. No agreement
for the sale of a ticket arises unless and until Pinpoint has confirmed your order or booking and full payment has been received.All bookings will be charged to Your nominated credit card. No other form of payment is available.
The offer of tickets from this website is only made to, and is only capable of acceptance by Australian residents. By booking a ticket, You represent and warrant to Pinpoint that You are an Australian resident. No agreement for
the sale of a ticket arises unless and until Pinpoint has confirmed your order or booking and full payment has been received.
T&Cs
11am till 12pm
T Y A G A R A H T E A T R E E F A R M
yRON BLUES2013
fest
28th Mar
A DM I T O N E
A DM I T O N E
ADULT & CHILD WRISTBAND
28th March to 1st AprilBYRON Blues 2013fest
28th March to 1st AprilBYRON Blues 2013fest
O V E R 1 8
yRON BLUES2013
fest
pass
U N D E R 1 8pass
TICKETS & wristband
28th March to 1st AprilBYRON Blues 2013fest day1
Preferred Seating does not provide the information or services relating to entertainment or events displayed on this web site. All such information and services are provided by Pinpoint Pty Ltd ACN 002 693 656 ("Pinpoint",
"We" and "Us"). The following terms and conditions represent the agreement between the purchaser of tickets via this web site ("You" and "Your") and Pinpoint. Tickets to events acquired via this website ("Events") are issued by
third parties ("Promoters") promoting and/or providing venues for those Events. Tickets are usually sold by a Ticketing Agency (an "Agent"). The terms and conditions regulating the rights and obligations of the Promoter, the
Agent and holder of tickets are generally available from: The ticket; and/or Information published by the Promoter or its Agent.. In most cases, the Promoter and/or the Agent will be a member of the Australian Entertainment
Industry Association, trading as Live Performance Australia. Members of this Association using that membership as a endorsement are bound by the Associations Code of Practice for Event Ticketing reproduced below and
published at: http://www.liveperformance.com.au. The Live Performance Code forms part of these terms and conditions.Waitlist registration will expire 12 months from the date of registration. You may renew Your registration
at any time. In very few instances where demand for tickets exceeds supply we may not be able to satisfy all requests. Therefore it is important that you register early, re-register and update your contact information every 12
months. If tickets become available we will endeavour to contact you to make a booking should you wish to proceed.By booking a ticket, You represent and warrant to Pinpoint that You are an Australian resident. No agreement
for the sale of a ticket arises unless and until Pinpoint has confirmed your order or booking and full payment has been received.All bookings will be charged to Your nominated credit card. No other form of payment is available.
The offer of tickets from this website is only made to, and is only capable of acceptance by Australian residents. By booking a ticket, You represent and warrant to Pinpoint that You are an Australian resident. No agreement for
the sale of a ticket arises unless and until Pinpoint has confirmed your order or booking and full payment has been received.
T&Cs
11am till 12pm
T Y A G A R A H T E A T R E E F A R M
yRON BLUES2013
fest
28th Mar
A DM I T O N E
A DM I T O N E
ADULT & CHILD WRISTBAND
28th March to 1st AprilBYRON Blues 2013fest
28th March to 1st AprilBYRON Blues 2013fest
O V E R 1 8
yRON BLUES2013
fest
pass
U N D E R 1 8pass
TICKETS & wristband
K A T I E P I P E R 2 Ak a t i e a p i p e r @ g m a i l . c o m
1
2 12
B L U E S F E S T . D E S I G N
The design was inspired by classic Chicago Blues posters. The
more retro aesthetic helps to echo back to the roots of Blues
music and at the same time stays quirky and modern with
the typographical elements. The posture of the man and the
collage of the Blues instruments that form his head, create a
musical and vibrant feeling to the design that represents the
energy and atmosphere of the festival. Creating a dancing,
fun, musical graphic to represent the rhythm and movement
of Byron Bay’s Blues Festival.
R A T I O N A L E
K A T I E P I P E R 2 Ak a t i e a p i p e r @ g m a i l . c o m
3 F E M A L E A N D M A L E S T Y L E S
K A T I E P I P E R 2 Ak a t i e a p i p e r @ g m a i l . c o m
3 F E M A L E A N D M A L E S T Y L E S
Byron Bay Blues Fest. T-Shirt Design
C H A N N E L O R A N G E
FRANK OCEAN C H A N N E L O R A N G E
Frank Ocean ‘Channel Orange’ LP Cover.
‘Disappearing Words’ - a typographical exercise.
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NIT IDNIT IDNIT ID
D I M N E S S
D I M N E S S
D I M N E S S
D I M N E S S
CALIGNOSITY
CALAAAAAAAAAL
CCAAAAAAAAAAAA
THE STUDY OR TREATMENT OF MENTAL DISEASES, ESPECIALLY IN THEIR RELATION TO LEGAL PROBLEMS.THE STUDY OR TREATMENT OF MENTAL DISEASES, ESPECIALLY IN THEIR RELATION TO LEGAL PROBLEMS.THE STUDY OR TREATMENT OF MENTAL DISEASES, ESPECIALLY IN THEIR RELATION TO LEGAL PROBLEMS.THE STUDY OR TREATMENT OF MENTAL DISEASES, ESPECIALLY IN THEIR RELATION TO LEGAL PROBLEMS.
IN THEIR RELATION TO LEGAL PROBLEMS.
A L I E N I S M
A
l
IEN
IS
M
S I N C E 1 9 4 4
PICCOLO. .PA S TA
. .
. .. .
. .
NUTRITION INFORMATION
P R O D U C T O F I TA LYP E S O N E T T O 5 0 0 GS T O R E I N A D R Y P L A C E
Ingredienti : semola di grano duro .
Ingredients: durum wheat semolina
Produzione artigianale di pasta di
semola di grano duro . Produtto tipico
Italiano . Da consumarsi
preferibilimente ento il: (vedi data sul sacchetto).
A r tisa n p asta p r od u c e d f r om 100% d u r u m w h e at se mol in a . Au th e n tic Ita l ia n ma d e . Best be f or e (se e d ate p r in te d on box ) .
Portare ad ebollizione in una pentola
abbondante acqua salata , e farvi cuocere la pasta . Scolaria al dente .
Br in g a l a r g e p ot of sa lte d wate r to th e boil . A d d th e p asta , a n d st ir oc c asion a l ly .
C ook th e p asta to taste or u n til ‘a l d e n te ’ .
ENERGY
PROTE IN
FAT , TOTA L
- SATU RATED
CARBOHYDRATE
- SU GARS
SODIU M
Servings per package : 4Serving s ize 125g
A V E R A G E Q U A N T I T Y P E R S E R V I N G
A V E R A G E Q U A N T I T Y P E R 1 0 0 G S E R V I N G
145kg12.0g14g0.47g717g4.2g4mg
ENERGY
PROTE IN
FAT , TOTA L
- SATU RATED
CARBOHYDRATE
- SU GARS
SODIU M
1817kg15.0g175g0.58g89.63g5.25g5.0mg
. .
G O U R M E T A R T I S A N P A s TA
SQU I D I N K PAS TA
G O U R M E T
A R T I S a N
P A s T A
S I N C E 1 9 4 4
SQUID INK PASTA
TAGLIATELLE AL NERO DI SEPPIA
PiccoloPASTA
125G
S I N C E 1 9 4 4
PICCOLO. .PA S TA
. .
. .. .
. .
NUTRITION INFORMATION
P R O D U C T O F I TA LYP E S O N E T T O 5 0 0 GS T O R E I N A D R Y P L A C E
Ingredienti : semola di grano duro .
Ingredients: durum wheat semolina
Produzione artigianale di pasta di
semola di grano duro . Produtto tipico
Italiano . Da consumarsi
preferibilimente ento il: (vedi data sul sacchetto).
Artisan pasta produced from 100% durum wheat semolina. Authentic Ital ian made . Best before (see date printed on box) .
Portare ad ebollizione in una pentola
abbondante acqua salata , e farvi cuocere la pasta . Scolaria al dente .
Bring a large pot of salted water to the boil . Add the pasta, and st ir occasionally .
Cook the pasta to taste or until ‘al dente ’ .
ENERGY
PROTE IN
FAT , TOTA L
- SATURATED
CARBOHYDRATE
- SUGARS
SODIUM
Servings per package : 4Serving s ize 125g
A V E R A G E Q U A N T I T Y P E R S E R V I N G
A V E R A G E Q U A N T I T Y P E R 1 0 0 G S E R V I N G
145kg12.0g14g0.47g717g4.2g4mg
ENERGY
PROTE IN
FAT , TOTA L
- SATURATED
CARBOHYDRATE
- SUGARS
SODIUM
1817kg15.0g175g0.58g89.63g5.25g5.0mg
. .
G O U R M E T A R T I S A N P A s TA
SQU I D I N K PAS TA
G O U R M E T
A R T I S a N
P A s T A
S I N C E 1 9 4 4
SQUID INK PASTA
TAGLIATELLE AL NERO DI SEPPIA
PiccoloPASTA
125G
S I N C E 1 9 4 4
PICCOLO. .PA S TA
. .
. .. .
. .
NUTRITION INFORMATION
P R O D U C T O F I TA LYP E S O N E T T O 5 0 0 GS T O R E I N A D R Y P L A C E
Ingredienti : semola di grano duro .
Ingredients: durum wheat semolina
Produzione artigianale di pasta di
semola di grano duro . Produtto tipico
Italiano . Da consumarsi
preferibilimente ento il: (vedi data sul sacchetto).
Artisan pasta produced from 100% durum wheat semolina. Authentic Ital ian made . Best before (see date printed on box) .
Portare ad ebollizione in una pentola
abbondante acqua salata , e farvi cuocere la pasta . Scolaria al dente .
Bring a large pot of salted water to the boil . Add the pasta, and st ir occasionally .
Cook the pasta to taste or until ‘al dente ’ .
ENERGY
PROTE IN
FAT , TOTA L
- SATURATED
CARBOHYDRATE
- SUGARS
SODIUM
Servings per package : 4Serving s ize 125g
A V E R A G E Q U A N T I T Y P E R S E R V I N G
A V E R A G E Q U A N T I T Y P E R 1 0 0 G S E R V I N G
145kg12.0g14g0.47g717g4.2g4mg
ENERGY
PROTE IN
FAT , TOTA L
- SATURATED
CARBOHYDRATE
- SUGARS
SODIUM
1817kg15.0g175g0.58g89.63g5.25g5.0mg
. .
G O U R M E T A R T I S A N P A s TA
SQU I D I N K PAS TA
G O U R M E T
A R T I S a N
P A s T A
S I N C E 1 9 4 4
SQUID INK PASTA
TAGLIATELLE AL NERO DI SEPPIA
PiccoloPASTA
125G
S I N C E 1 9 4 4
PICCOLO. .PA S TA
. .
. .. .
. .
NUTRITION INFORMATION
P R O D U C T O F I TA LYP E S O N E T T O 5 0 0 GS T O R E I N A D R Y P L A C E
Ingredienti : semola di grano duro .
Ingredients: durum wheat semolina
Produzione artigianale di pasta di
semola di grano duro . Produtto tipico
Italiano . Da consumarsi
preferibilimente ento il: (vedi data sul sacchetto).
Artisan pasta produced from 100% durum w heat s emo lina. Authen tic Ita l ian made . B est b efore (see date printed o n bo x) .
Portare ad ebollizione in una pentola
abbondante acqua salata , e farvi cuocere la pasta . Scolaria al dente .
Br i n g a la rge pot of salted water to the boil . Add the pasta, an d st ir oc c asionally .
Cook th e p asta to taste or un til ‘al dente ’ .
ENERGY
PROTE IN
FAT , TOTAL
- SATURATED
CARBOHYDRATE
- SUGARS
SODIUM
S ervings per package : 4S erving s ize 125g
A V E R A G E Q U A N T I T Y P E R S E R V I N G
A V E R A G E Q U A N T I T Y P E R 1 0 0 G S E R V I N G
145kg12.0g14g0.47g717g4.2g4mg
ENERGY
PROTE IN
FAT , TOTAL
- SATURATED
CARBOHYDRATE
- SUGARS
SODIUM
1817kg15.0g175g0.58g89.63g5.25g5.0mg
. .
G O U R M E T A R T I S A N P A s TA
SQU I D I N K PAS TA
G O U R M E T
A R T I S a N
P A s T A
S I N C E 1 9 4 4
SQUID INK PASTA
TAGLIATELLE AL NERO DI SEPPIA
PiccoloPASTA
125G
‘Piccolo Pasta’ box series.
FRANK’
S
SPRIN
G BREA
K
FEATUR
ES
FRANKS
THE QUEEN OF ZEF:YOLANDI VI$$ER
MIKE BROWN: “HOW I KILLED PLUTO”
CACTI, ALL THE COOL KIDS PLANT IT..
MICKEY MOUSE: TRASHIN FASHIN
VERTIGO - GREATEST MOVIE OF ALL TIME
2012
263154
The new succulant craze taking over
student rented inner-west terraces
near you! p.26
Mickey Mouse hits the runway. New comic chic prints in Spring. p.31
British artist Rooth Malice shares her latest atomic
works with Sydney. p.45
Mike Brown, How I Killed Pluto & Why It Had it Coming book review. p. 12
The Queen of Zef, Yolandi
Vi$$er on D
ie Antw
oord and her love of rats. p.20
Model Profile: Cara Delevinger
Proverbs from John Waters
Alexander Wang's inspiration
On the Inside:Topshop
WE LOVE
Shopping Folk Fancy
Bella Donna
Notorious: Photography by Tung Walsh
Tall, Dark and Handsome by Philip Gay
In Person by Alex Franco
Think: Spiritulised.
Rooth Malice''s Atomic Greeting Cards
Oh Mercy!! Talk to Frank
The Diamond Collective
FASHION
UPFRONT
ART&MUSIC
03
14
27
47
51
05
18
29
59
61
11
16
39
64
FRANKS
01
‘The Queen of Zef’ - Yolandi Yi$$er double page spread
Contents Page for ‘Frank’s’ Magazine.
THEQUEEN
OF:
ZEFQUE
EN OF
ZEF
YOLAND
I VI$$
ER:
“I FIN
K YOU’
RE FRE
AKY
AND I
LIKE Y
OU A L
OT.”
into the phenomenon, it became apparent that the duo of Ninja and Yolandi had been involved in various music groups and art projects over the years. Was this a calculated effort to exploit people like me who find great entertainment in clueless overseas assimilation of American pop culture? At this point I didn’t care, as I started to actually enjoy the songs. Also Yolandi was a total freaking babe. I went to their show at 9:30 Club
not knowing what to expect, and was given one of the best performances I had seen in a while. The energy on stage made up for the lack of weird ass visuals in their videos. Sure, I was still cracking up at the spectacle, and had no idea how authentic these larger than life personalities were on stage, but like Exit Through the Gift Shop or Lana Del Rey, if the product is this good who gives a shit? The quality of the put on is as good as the reality. So here is the interview.
When the offer came in to interview Die Antwoord, to say I was excited would be an understatement. Also very very scared. Like most people, I discovered their music through their strange viral videos, at first laughing at the unintentional hilarity of their apparent foreign naivety. After a while though it began to seem that it was all an elaborate hoax. Some of their lyrics suggested they were a bit more clever than you might think. As theinternet began to delve
21
clueless overseas assimilation of American pop culture? At this point I didn’t care, as I started to actually enjoy the songs. Also Yolandi was a total freaking babe. I went to their show at 9:30 Club not knowing what to expect, and was given one of the best performances I had seen in a while. The energy on stage made up for the lack of weird ass visuals in their videos. Sure, I was still cracking up at the spectacle, and had no idea how authentic these larger than life personalities were on stage. But so many people Exit Through the Gift Shop or Lana Del Rey, if the product is this good who gives a shit? The quality of the put on is as good as the reality. So here is the interview. Let me set the stage just a bit - I was dreading
Trying to understand these guys, the thick accents and slang were tough enough, but over a cell phone speaker on the other side of the planet it became near impossible. They were barely coming through as I was hunched over my desk with my ear as close to the phone as possible trying to follow Ninjas stream of consciousness rants while Yolandi mumbled in the background. In the end I had to disengage a bit as I simply had no idea what they were talking about, and just let them ramble on hoping for the best. Luckily the recorder was able to pick up what they said a lot clearer than my actual ear was so I got most of it down, but I’ve added some notes in brackets.
When the offer came in to interview Die Antwoord, to say I was excited would be an understatement. Also very very scared. Like most peo-ple, I discovered their music through their strange viral videos, at first laughing at the unintentional hilarity of their apparent foreign naivety. Af-ter a while though it began to seem that it was all an elabo-rate hoax. Some of their lyrics suggested they were a bit more clever than you might think. As the internet began to delve into the phenomenon, it became apparent that the duo of Ninja and Yolandi had been involved in various music groups and art projects over the years. Was this a calculated effort to exploit people like me who find great entertainment in
“JUST BECAUSE THE WHOLE WORLD’s GONE DWANKY, DOESN’T MEAN WE’RE GONNA. . . ”
TECHNO
BEAT,
A TEC
HNO TE
CHNO
BEAT..
.
“FREE PUSSY
RIOT!”
not knowing what to expect, and was given one of the best performances I had seen in a while. The energy on stage made up for the lack of weird ass visuals in their videos. Sure, I was still cracking up at the spectacle, and had no idea how authentic these larg-er than life personalities were on stage. But like Exit Through the Gift Shop or Lana Del Rey, if the product is this good who gives a shit? The quality of the put on is as good as the reality. So here is the interview. Let me set the stage just a bit - I was dreadin Trying to understand these guys, the thick accents and slang were tough enough, but over a cell phone speaker on the other side of the planet it became near impossible. They were barely coming through as I was hunched over my desk with my ear as close to the phone as possible trying to follow Ninjas stream of conscious-ness rants while Yolandi mumbled in the background.
When the offer came in to interview Die Antwoord, to say I was excited would be an understatement. Also very very scared. Like most peo-ple, I discovered their music through their strange viral videos, at first laughing at the unintentional hilarity of their apparent foreign naivety. Af-ter a while though it began to seem that it was all an elabo-rate hoax. Some of their lyr-ics suggested they were a bit more clever than you might think. As the internet began to delve into the phenom-enon, it became apparent that the duo of Ninja and Yolandi had been involved in various music groups and art projects over the years. Was this a calculated effort to exploit people like me who find great entertainment in clueless overseas assimilation of American pop culture? At this point I didn’t care, as I started to actually enjoy the songs. Also Yolandi was a total freaking babe. I went to their show at 9:30 Club
In the end I had to disengage a bit as I simply had no idea what they were talking about, and just let them ramble on hoping for the best. Luckily the recorder was able to pick up what they said a lot clearer than my ac-tual ear was so I got most of it down, but I’ve added some notes in brackets. When the offer came in to interview Die Antwoord, to say I was excited would be an understatement. Also very very scared. Like most peo-ple, I discovered their music through their strange viral videos, at first laughing at the unintentional hilarity of their apparent foreign naivety. Af-ter a while though it began to seem that it was all an elabo-rate hoax. When the offer came in to interview Die Ant-woord, to say I was excited would be an understatement. Some of their lyrics suggested they were a bit more clever than you might think. As the internet began to delve into the phenomenon.
2423
‘Smallpox’ booklet was an info graphic exercise in depicting the design process metaphorically through an organically growing organism.
SMALLPOXKATIE PIPER
B R E I F
R E S E A R C H
R O U G H S
R E F I N E DR O U G H S
P R E S E N T T O
C L I E N T
R E F I N E
P R I N T E D
F I N I S H E D A R T
SMALLPOX
Website for creative director Lotte James Barneslottebarnes.com
Website for creative director Lotte James Barneslottebarnes.com
K I L L I N G S H I T & T A K I N G N A M E S
PIPERPIPER
1988
Design Centre Enmore ‘Grad Show’ exhibit.
1
B E T T E R R E A D T H A N D E A D
EST 1990
B ette r R e a d T h a n D e a d
EST 1990
B ette r R e a d T h a n D e a d
The maximum size of the logo is A6, should usually be displayed as 116mm x 61mm. Smallest reduction should be
80mm x 45mm.
EST 1990
B ette r R e a d T h a n D e a d
A6
(min.)
(max.)
45mm
80mm
{s ize}
Re-branding of Newtown bookstore ‘Better Read Than Dead’.
Katie PiperGraphic Designer
0417 417 275piper-piper.com
katieapiper@gmail.com
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