Portfolio Graphic Design

Mariana Baldaia Portfolio Livro. 21 cm. x 29.7 cm. Porto.2009 Design.Mariana Baldaia Fotografia.Mariana Baldaia Impressão.Digital Sempre Encadernação.Digital Sempre

LRY AR FY T LN “(...) Please,please,please And now, Americans for a Free Press... take extreme pleasure in welcoming to Cincinnati... direct from jail... cleared 100% by the Appellate Court... and the hustler publisher... ...that freedom fighter, Larry C. Flynt! (...)” Larry Flynt Projecto académico excerto do discurso de Larry Livro. 20 cm. x 20 cm. Flynt, do filme “O escândalo de ESAD.2006/2007 Larry Flynt”.

JM I J R UC A M SH Cinema Batalha 16-24 Fevereiro Permanent Vacation (1980) Stranger than Paradise (1984) Down by Law (1986) Mystery Train (1989) Night on Earth (1991) Dead Man (1995) Year of the Horse (1997) Ghost Dog: The Way of the Samurai (1999) Coffee and Cigarettes (2003) Jim Jarmusch Broken Flowers (2005) Projecto académico Cartaz. 50 cm. x 70 cm. Postais + Embalagem. 11 cm. x 14,8 cm. CD. capa filmes a passar na semana Jim ESAD.2006/2007 Jarmusch - Integral

EE T V NO D S O TV EP R I O Evento Desportivo . Street Basket Projecto académico Cartaz. 50 cm. x 70 cm. Postais. 11 cm. x 14,8 cm. Publicidade. mupis e jornais ESAD.2006/2007

DSN O EE H V CO I L E T RA Desenho Vectorial Projecto académico Software. Adobe Illustrator ESAD.2006/2007

WO H MD AE WO H Who Made Who Projecto académico Promoção de single da banda WHO MADE WHO, Rose Livro + CD. 12 cm. x 24 cm. ESAD.2006/2007

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S NA Ã E SÇO A DÇ O U IÃ José Mário Branco Inquietação Jane’s Addiction I’ve been caught stealing Jean Sibelius Valse Triste músicas trabalhadas Sensações . Audição Projecto académico Livro de sensações . 18 cm. x 25 cm. ESAD.2007/2008 dupla página

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LS O HR A O EMN S Los Hermanos Projecto académico Lançamento do álbum Los Hermanos, Perfil Ficha técnica + CD + capa. PUC - Rio de Janeiro.2007/2008

U B NC L R R A OO RA BO OD O K Urban Color Road Book Projecto académico Roteiro pela cidade do Porto Roteiro metropolitano Livro . 14 cm. x 20 cm. Postais . 10,5 cm. x 14,8 cm. ESAD.2008/2009 capa + lombada

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CAMPANHÃ CASA DA MÚSICA SERRALVES RIBEIRA BOLHÃO AEROPORTO

I E TD D D NI A E VS A N A IU L C D As an erasmus student I see NCAD as a college with a different attitude, diferent spirit. People care about not only design, but art as in arts & crafts. All the events and parties are thought visually to the last detail. I think the recent logo is too limited for this king of college, it doesn’t show how things work inside this insti- tution. In my opinion it would work to Trinity College, not an arts college. I wanted to do something strong, something that you don’t forget that easily, something that even an illiterate passes and stops to look at it. To have that effect I chose for a heavy type opting for having soft/dark colors as in the college. Black, grey and blue as all the gates. This logo shouldn’t work only as a logo, but also as an image that you can play around for posters, brochures... It makes it multipurpose as I’ll show further. It can be a logo that as to be changed as the time passes, and as the atittudes changes. Arts & Design are two areas in constant evolution, constant change of language. So I’d propose that it would be changed every two years having college attitudes in consideration. Identidade Visual NCAD Projecto académico Identidade Visual National College of Arts & Design Estacionário Publicidade . mupis, cartazes, revista NCAD Dublin . 2008/2009

revista mensal capa cartões pessoais NCAD National College NCAD Arts & Design National College Arts & Design 100 Thomas Street Dublin 8 Ireland Tel. +353 1 636 4200 Fax +353 1 636 4207 www.ncad.ie fios@ncad.ie www.ncad.ie Tel. +353 1 636 4200 Fax +353 1 636 4207 100 Thomas Street fios@ncad.ie Dublin 8 Ireland 100 Thomas Street Dublin 8 Ireland NCAD National College Tel. +353 1 636 4200 Fax +353 1 636 4207 www.ncad.ie fios@ncad.ie Arts & Design

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cartaz para as festas de 5a feira na universidade

cartazes individuais para a entrada (hall) da galeria da universidade.

LV O IR S C BN S UA O Livros Cubanos Projecto académico Capas . 12 cm. x 3 cm. x 21,5 cm. NCAD.2008/2009 Geoff Simmons Cuba: From Conquistador to Castro Stephen Foehr Waking up in Cuba John Duncan In the red corner: A Journey into Cuban boxing Depois da nossa viagem a Cuba, foi-nos pedido para fazer três capas para três livros diferentes, tendo em conta que seriam livros seriados, teriam que ter a mesma lingua- gem. O livro “Cuba: from Conquistador to Castro” fala-nos da revolução, do desenvolvimento do povo cubano e do próprio país. O livro “Waking Up in Cuba” fala-nos da cultura musical de Cuba desde a batucada Africana ao rock’n’roll ameri- cano. A cultura do povo na rua é também abordada, da vida urbana. O livro “In the Red corner: a journey into cuban boxing” conta a história da polémica luta de boxe entre cubanos e o boxer Mike Tyson que por conflictos já conhecidos entre E.U.A. e Cuba, nunca se chegou a realizar.

John Duncan Duncan shows us how the lives of ordinary Cubans can be damaged by the bureaucratic nightmare of the Castro regime (and before any spotty student tries to tell you otherwise it is without question a regime). Saddest of all are the apartheid style rules that keep ordinary Cubans well away from the most expensive tourist resorts. Cuba is once again the play thing of the rich, but this time only the Cuban government is allowed to make any money out of it. Quite why Cuba has traditionally succeeded in boxing is clear. The manager of Cuban boxing, Alcides Sagarra, is on the Central Committee of the Communist Party of Cuba. In 1997 his goal was to plan for the Olympics. The Olympics in mind being those of...2008! Secondly Cuba has In th a clear ethos of sport for all - for love not money. This is particularly e Re refreshing to us in the UK surrounded by d Co greedy footballers with their bimbo girlfriends and their grasping agents. r ner : A Journey into Cuban Boxing

R WN E ID M G ZN A AI E Your task is to produce an experimental magazine about INDPENDENT CINEMA. The purpose of this work is to exhilarate the trial of the visually art of experimental language. A magazine focused on promoting non-commercial directors, producers and to give the spectator a taste of each others minds. Develop visual identity, photography, illustration and editorial. UM FILME DE ANTONIO VALE DA CONCEICAO SOFIA COPPOLA Revista Cinema Independente the virgins suicides Capa + interior . 15 cm. x 18 cm. SPIKE LEE 25th hour MICHAEL HANEKE Rewind Magazine la pianiste Projecto académico NCAD.2008/2009 TAKESHI KITANO dolls VINCENT GALLO the brown bunny

When Sofia Coppola began writing a screenplay based on Jeffrey Eu- genides’ novel The Virgin Suicides, someone else owned the film rights. Though she’s part of a formidable filmmaking family that includes father Francis Ford Coppola, husband Spike Jonze, and cousin Nicolas Cage, the 27-year-old actress and designer didn’t initially know that her adaptation would become a feature film — or that she would be at its helm. Four years later, Coppola is making her directing debut with The Virgin RWD: You started writing the screenplay not subject of the novel, I’m curious about which Suicides, a catastrophic fairy tale knowing that you would be able to direct this elements or qualities of the novel you thought about the Lisbon sisters, five girls film. What was it about the story that grabbed translated well into the movie format, and which growing up in suburban ‘70s America. you and made you want to lay into it on your elements were more challenging or just impos- own? sible to pull off visually. Coppola’s famous father may be on board as a producer, but this is So- Sofia Coppola: Well, it’s hard to say exactly, SC: My motivation was to try to keep [the film] fia’s pet project all the way, a dreamy but when I read the book, it became one of my true to the book. But then, as I was working on it, and ominous vision of adolescence favorites. I really loved how the story had seri- I started to realize that a movie is something else gone awry, starring Kirsten Dunst, ous and tragic sides, but was also funny. You entirely, and you have to abandon some ideas. Josh Hartnett, Kathleen Turner and know how you get about those books that you The main thing I wanted to do is … whatever the James Woods. love — “Oh, they’re going to make a movie of it! essence of the book is, to try to find a way to Days before her film screened as the Are they going to do it right?” I had those feel- present that visually. The thing that I really liked ings, and then I heard a little about how [others] about the book is how it jumped around in time opening night selection of the San were doing it, and I got the feeling that it wasn’t and had these flash-forwards and flashbacks. Francisco International Film Festival, going to be treated as delicately as I thought That’s a lot harder to do in film without really jar- Sofia Coppola talked to Reel.com the book deserved. I got protective of it and I ring the audience. about the process of bringing Sui- started thinking, “Oh, the film should open like One challenge was when Cecilia falls on the cides to the big screen, her future this, not like that,” and so I thought I’d start writ- fence, the book describes it as looking like a ing it down, instead of talking about it. I started levitation act, and I tried to make it like that. I writing a couple scenes, and then I got into it. I didn’t use blood and gore, because I wanted it was doing it on the weekends. I thought, “Oh, I’ll to have the sort of unreal quality that [Eugenides] just do one more scene. If nothing else, I’ll learn talks about. how to adapt a book into a screenplay.” Did you read the book? RWD: That leads to another question I had. By the end, there has been a build-up all along — RWD: No. When I found out I was going to re- starting with the title — to the suicides. How did view the movie, I thought about picking it up. you decide to portray them as you did — more I didn’t, mostly because I wanted to see the suggestively than graphically? movie on its own terms. But while we’re on the

RWD: The screenplay was written ten, twelve have made sense to try. Film is an independent art years ago? Why did you start working with this form, and it employs literature as an intellectual material now? quarry. Elfriede Jelinek herself was fascinated to MH: Firstly because someone suggested it, and see how another person made use of the material secondly because the compelling thing about the she provided. story is that extremely complex observations are made about society, and they go beyond private RWD: Did you work together with the author? interrelationships. This story is so full of associa- MH: I discussed the main character with her sev- tions and it isn’t exhausted in the telling alone. In eral times at the beginning. The difficulty was that addition, there are three great roles. One of my the novel is now 15 years old and it describes a conditions when it was offered to me was hiring certain period with the apartment and the cloth- Isabelle Huppert for the lead. ing. As I brought the film into the present so to speak, the question arose of the extent to which RWD: Why her in particular? she thinks that’s possible for the elements which MH: Because in my opinion, she’s the best ac- are important to her. But in general, she con- tress I know in Europe if not the entire world. She sciously stayed in the background. She doesn’t has on the one hand the sensitivity and ability to demand recognition as the sole creator. show suffering and on the other this character’s cold-bloodedness, and she looks good, too. RWD: The female characters in your films are always stronger and more mysterious than the RWD: Can we expect more such films based on males. literary works from you? MH: I’m not sure that they’re deeper or more MH: No, but that has nothing to do with good mysterious. Both women and children - there or bad experiences - I just have enough material are also a disproportionate number of the latter already which I want to use. Because as an au- in my films - play an important role because vic- teur, one writes for one’s own strengths, which is tims interest me more than perpetrators. Women one of the reasons why auteur films are usually - and this is also true of other directors - are the more interesting. The discussion concerning form more interesting characters because they’re far- and content, which decides the quality of a film in ther down in the pecking order. The alternative to the end, is easier to resolve when the screenwriter plumbing the depths of their psyches is the hero, REWIND: The Piano Teacheris your first film from an addopted screenplay, based on a versy controver- and director are one and the same person. I find who has no psychology and is only a victor. All in sial novel by Elfriede Jelinek. What did you find so interesting about the material? that principle more interesting, of course. all, I’m more interested in women - men bore me. Michael Hanke: I thought it was interesting because it goes very far psychologically. RWD: How do you deal with the issue of translat- RWD: One level which the book is unable to com- RWD: When reading this novel, did you think that it was very filmic? ing language into film adequately? municate but which would be perfect for film is MH: It’s filmic in that its structure is very linear, making it suitable for a cinematic version, but its linguistic MH: Language is used only in dialogs, and I in- music. form is not at all suitable. The essence of Elfriede Jelinek’s literature is not in her stories, but in the narra- vented quite a few scenes which don’t appear in MH: That was my hobby while making this film. tive form. Her main interest is language. This language is not transferable. The same story must be told the novel. I made an effort to describe the same Fundamentally, I’m of the opinion that film music with the means offered by film. I didn’t make a film version of the book - I told the story. In that sense, internal universe in film, at the same time never has no place in movies because 99% of its func- it’s not a film version of a literary work. thinking about how to include Jelinek’s language. tion is to compensate for a deficit in the suspense That would never have worked, and it wouldn’t or excitement.

OS A IE U NI OR Oiseu Noir Projecto independente Cartaz + CD . 50 cm. x 70 cm. Porto.2008

C M A HA O PN I T AR ETO V+ Associação Cultural V+ Companhia de Teatro Companhia de Teatro Projecto Independente Identidade Visual Associação Cultural V+ Companhia de Teatro Rua da Paz, 26 1º 4050-461 Porto | vmaisteatro@gmail.com | 917098315 914156744 968634205 Porto.2008 Rua da Paz, 26 1º 4050-461 Porto | vmaisteatro@gmail.com | 917098315 914156744 968634205 V+Companhia de Teatro Associação Cultural V+Companhia de Teatro Rua da Paz, 26 1º 4050-461 Porto Associação Cultural 917098315 914156744 968634205 Rua da Paz, 26 1º 4050-461 Porto vmaisteatro@gmail.com vmaisteatro@gmail.com 917098315 914156744 968634205 V+Companhia de Teatro Associação Cultural Rua da Paz, 26 1º 4050-461 Porto vmaisteatro@gmail.com 917098315 914156744 968634205

Portfolio Graphic Design

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