mfa portfolio book

/ PAULINA MCFARLAND

Marks

/

Each Warrior wants to leave the mark of his will , his signature on important acts he touches. This is not the voice of ego but of the human spirit , rising up and declaring that it has something to contribute to the solution of the hardest problems, no matter how vexing.

- Pat Riley

//

//

ContentsFINDING HARMONY

/ 7

MINIMAL ANIMAL

/ 31

UNIVERS IN A BOX

/ 51

ERATH ART

/ 59

SURREAL LANDSCAPES

/ 67

NEW YORK CHIC

/ 97

RE-MIXED MEDIA

/ 121

CLEANEST ENERGY

/ 141

POP ART ACTIVISM

/ 155

MASTER’S THESIS

/ 167

PROJECT / hARMoNy koRINE FILM FESTIVAL COURSE / NATURE oF IDENTITy INSTRUCTOR / hUNTER WIMMER

Finding harmony01

AAU / 20 1 1 PROJECT 0 1 / IN T RODUCT ION PAGE / 9

PROJECT / HARMONY KORINE FILM FESTIVAL

PAGE / 8 PAUL INA MCFARLAND MFA PORT FOL IO

Overview

The End is Nowhere: Harmony Korine Film Festival was inspired by the Dogme 95 filmmaking movement started in 1995 by

the Danish directors Lars von Trier and Thomas Vinterberg, who created the Dogme 95 Manifesto. The basic principles of

the movement were a return to a more ‘pure’ and low budget film-making with materials available on the spot and a semi-

documentary, intimate style without special ef fects or even studio settings.

Process

I wanted to take on the movie project in the same way in which Korine had approached the making of the film — from a

totally conceptual, raw and uninhibited place. My challenge in designing the aesthetic of the film festival was to create the

same cinematic intensity, illusion of movement and anxiety which is so often present in the films of Dogme 95 filmmakers.

In the end I chose to work with grey industrial felt and constructed all CD/DVD and collateral cases by sewing the fabric.

I chose three colors for the three dif ferent movies I had worked with: white (Gummo), red (Julien Donkey Boy), blue (Mister

Lonely) and used the colors throughout the project with designs for tickets, CD’s, and the catalog. The latter was a 400 page

collection of movie stills, personal photographs (taken around San Francisco at garbage dumps and on rooftops) and light

effects. The move campaign involved mainly a series of guerilla tags around the city. The project was encased in an old

beaten up metal box, spray painted with festival’s logo.

Result

Festival collateral included a set of CD’s, posters, tickets, schedule and a catalog.

2009

FINDING HARMONY

P ID

AAU / 20 1 1 PROJECT 0 1 / PROCESS PAGE / 11



AAU / 20 1 1 PROJECT 0 1 / FES T I VAL DVD ’ S PAGE / 13



PAGE / 14 PAUL INA MCFARLAND MFA PORT FOL IO AAU / 20 1 1 PROJECT 0 1 / FES T I VAL POS T ERS PAGE / 15


PAGE / 16 PAUL INA MCFARLAND MFA PORT FOL IO AAU / 20 1 1 PROJECT 0 1 / FES T I VAL T ICKE T S PAGE / 17


PAGE / 18 PAUL INA MCFARLAND MFA PORT FOL IO AAU / 20 1 1 PROJECT 0 1 / FES T I VAL CATALOG PAGE / 19


AAU / 20 1 1 PROJECT 0 1 / FES T I VAL CATALOG PAGE / 21



PAGE / 22 PAUL INA MCFARLAND MFA PORT FOL IO AAU / 20 1 1 PROJECT 0 1 / FES T I VAL CATALOG

PAGE / 23


PAGE / 24 PAUL INA MCFARLAND MFA PORT FOL IO AAU / 20 1 1 PROJECT 0 1 / FES T I VAL CATALOG PAGE / 25


PAGE / 26 PAUL INA MCFARLAND MFA PORT FOL IO AAU / 20 1 1 PROJECT 0 1 / FES T I VAL ADVERT IS ING AT MOMA PAGE / 27


AAU / 20 1 1 PROJECT 0 1 / FES T I VAL WEBSI T E PAGE / 29



02RESHOOT

PROJECT / CoNSTRAINT MAGAZINE COURSE / PUBLICATIoN NARRATIVES INSTRUCTOR / MIChAEL SAINATo

Minimal Animal

PAGE / 32 PAUL INA MCFARLAND MFA PORT FOL IO AAU / 20 1 1 PROJECT 02 / IN T RODUCT ION PAGE / 33

PROJECT / CONSTRAINT MAGAZINE

2009

DESIGNING WITH RESTRICTIONS

Overview

The concept for Constraint Magazine was a set of self-assigned constraints such as size, color and theme. I set out to make a

hard cover magazine, with minimal use of color and with the subject matter which embraced various restrictions.

Process

The most interesting part of the magazine was the fashion shoot where a set of four outfits were all designed, cut, and put

together in under half an hour and under ten dollars. The concept was to use only materials found around at the time of the

photo shoot. In the spirit of constraint I was forced to use tape, glue, and staples to keep the outfits together. For jewelry

I used phone cables and pieces of felt and made dresses with cut up T-shir ts while deconstructing and reconstructing

garments on the spot.

Result

Issue One covered subjects ranging from a impromptu time and money restrained fashion shoot to an article about con-

straint of mental illness in the art of Yayoi Kusama. The cover was white and the publication was delivered to a subscriber

in a reflective mailer. The design was simple and effective, the magazine combined aspects of fashion, lifestyle and art in

a minimalist context.

PAGE / 34 PAUL INA MCFARLAND MFA PORT FOL IO AAU / 20 1 1 PROJECT 02 / MAGAZINE OPENER PAGE / 35


AAU / 20 1 1 PROJECT 2 PAGE / 37


PAGE / 36 PAUL INA MCFARLAND MFA PORT FOL IO AAU / 20 1 1 PROJECT 02 / MAGAZINE OPENER PAGE / 37

PAGE / 38 PAUL INA MCFARLAND MFA PORT FOL IO AAU / 20 1 1 PROJECT 02 / FASHION SPREAD

PAGE / 39


PAGE / 40 PAUL INA MCFARLAND MFA PORT FOL IO AAU / 20 1 1 PROJECT 02 / FASHION SPREAD PAGE / 41


AAU / 20 1 1 PROJECT 02 / FASHION SPREAD PAGE / 43



PAGE / 44 PAUL INA MCFARLAND MFA PORT FOL IO AAU / 20 1 1 PROJECT 02 / YAYOI KUSAMA SPREAD PAGE / 45


PAGE / 46 PAUL INA MCFARLAND MFA PORT FOL IO AAU / 20 1 1 PROJECT 02 / MISCELLANEOUS SPREADS PAGE / 47


AAU / 20 1 1 PROJECT 2 PAGE / 49


PAGE / 48 PAUL INA MCFARLAND MFA PORT FOL IO AAU / 20 1 1 PROJECT 02 / MISCELLANEOUS SPREADS PAGE / 49

03

PROJECT / UNIVERS FoNT STUDy COURSE / TyPoGRAPhy ||

INSTRUCTOR / JENNIFER STERLING

Univers in aBox

AAU / 20 1 1 PROJECT 03 / IN T RODUCT ION PAGE / 53

PROJECT / UNIVERS FONT STUDY


2009

EXPERIMENTS IN TYPE

Overview

Type experimental box was the outcome of a principles of typography class which focused on teaching us typographic

standards in order to understand anatomy of type and its proper uses.

Process

We practiced by copying work of famous typographers such as Wolfgang Weingart and later on in the course experimenting

with various typographic compositions.

Result

The outcome of the class was a box set of experimental pages with a variety of type exercises. I chose to work with Univers

family for its simplicity and utilitarian character.

PAGE / 54 PAUL INA MCFARLAND MFA PORT FOL IO AAU / 20 1 1 PROJECT 03 / UNIVERS EXPERIMENTAL PAGES PAGE / 55


PAGE / 56 PAUL INA MCFARLAND MFA PORT FOL IO AAU / 20 1 1 PROJECT 03 / UNIVERS EXPERIMENTAL PAGES PAGE / 57


04

PROJECT / ERATh LABEL REDESIGN CLIENT / ERATh WINES INSTRUCTOR / SELF INSTRUCTED

Erath Art


PROJECT / ERATH LABEL REDESIGN


2010

ENVISIONING GREAT WINE

Overview

Erath is a vineyard located in Oregon which has been producing some of the most interesting and complex reds. I wanted to

capture the idea of earthiness and ageing.

Process

I thought of shrubbery, and things you can find on the ground, something that soaks up the flavor of the surroundings as much

as the grapes do. I went scavenging in the Oakland hills and around Half Moon Bay and was inspired by found twig shapes and

dried up flowers especially by their earthy coarseness which is very present in the wine.

Result

Seven wine labels which give the wine a classic look and nature inspired look.



AAU / 20 1 1 PROJECT 04 / ERATH CHARDONNAY PAGE / 63

PAGE / 64 PAUL INA MCFARLAND MFA PORT FOL IO AAU / 20 1 1 PROJECT 04 / ERATH L ABELS PAGE / 65


PROJECT / ERATH WINE LABEL DESIGN

05

PROJECT / BEhIND ThE SECRET DooR FILM FESTIVAL COURSE / NATURE oF IDENTITy INSTRUCTOR / SELF INSTRUCTED

Surreal Landscapes


PROJECT / SVANKMAJER/QUAY FILM FESTIVALPROJECT / SVANKMAJER/QUAY FILM FESTIVAL

2010

CONSTRUCTING ENVIRONMENTS

Overview

Behind the Secret Door is a film festival featuring my two favorite film directors Jan Švankmajer and Timothy and Stephen

Quay. Having grown up in Poland in the 80’s, I had watched a lot of claymation from Chechoslovakia (now Chech Republic) and

from my own country. I fell in love with the genre early on and proceeded to make my own small scale environments. This early

practice of building various sets inspired me to try this process on a larger scale and to translate it from sculpture to print.

Process

I watched all of the available movies by Jan Švankmajer and the Quays and studied the atmosphere and aesthetics of the more

relevant works. I found old dolls, broken toy parts and cool tones more suitable for the Quay brothers catalog. Jan Švankmajer

produced his works in the 70’s and 80’s combining his animation with living actors so I chose aged color tone and more organic

materials. I entitled the event Behind The Secret Door since both directors present us with magical and surreal worlds that

seem hidden away from our common reality.

Result

I centered the festival around the idea of secrecy. With every pass, the audience received an antique key as a keepsake. It

served as the invitation to open the mysteries of the event. The collateral produced involved two catalogues, a poster, set of

DVD’s and records, identity, postcards and tickets.


P ID

PAGE / 70 PAUL INA MCFARLAND MFA PORT FOL IO AAU / 20 1 1 PROJECT 05 / BUILDING ENV IRONMENT S PAGE / 71

PROJECT / SVANKMAJER/QUAY FILM FESTIVAL

I created several characters and photographed them to be used in a catalog, postcards and advertising materials. They

were made from simple found objects like roots, pieces of cloth and small metal parts. With the right background and

lighting, they became animated and turned into small characters with eyes and hands. The pictures above show the rough

parts. I also shot a lot of close-ups of natural objects (following pages) such as burned wood and seaweed to add a variety

and texture to the catalog.

Process

PAGE / 72 PAUL INA MCFARLAND MFA PORT FOL IO AAU / 20 1 1 PROJECT 05 / BUILDING ENV IRONMENT S PAGE / 73


PAGE / 74 PAUL INA MCFARLAND MFA PORT FOL IOPAGE / 74 PAUL INA MCFARLAND MFA PORT FOL IO AAU / 20 1 1 PROJECT 05 / FES T I VAL T ICKE T S PAGE / 75


AAU / 20 1 1 PROJECT 05 / BUS INESS CARDS PAGE / 77



PAGE / 78 PAUL INA MCFARLAND MFA PORT FOL IO AAU / 20 1 1 PROJECT 05 / POS T ER PAGE / 79


AAU / 20 1 1 PROJECT 05 / V INYL RECORDS PAGE / 81



PAGE / 82 PAUL INA MCFARLAND MFA PORT FOL IO AAU / 20 1 1 PROJECT 05 / CATALOG OPENER PAGE / 83


PAGE / 84 PAUL INA MCFARLAND MFA PORT FOL IO AAU / 20 1 1 PROJECT 05 / CATALOG SPREADS PAGE / 85


PAGE / 90 PAUL INA MCFARLAND MFA PORT FOL IO AAU / 20 1 1 PROJECT 05 / CATALOG OPENER PAGE / 91


06

PROJECT / ChIC JEANS REBRANDING CAMPAIGN COURSE / BRANDING STRATEGIES INSTRUCTOR / hUNTER WIMMER

New york Chic

PROJECT / CHIC JEANS REBRANDING CAMPAIGN

AAU / 20 1 1 PROJECT 06 / IN T RODUCT ION PAGE / 99 PAGE / 98 PAUL INA MCFARLAND MFA PORT FOL IO

2009

ENVISIONING A PEOPLE CENTERED BRAND

Overview

The goal of this project was to modernize an old and forgotten brand. I chose Chic Jeans, a ‘soccer mom’ Walmart brand.

I set out to not only change the look of the brand, but to revamp the practices of the company and transform it into a model

manufacturer: worker conscious with high worker retention, environmentally sound and essentially a big brand that behaved

like a mom and pop shop. I wanted to appeal to the younger demographic and average middle class people who wanted to feel

good about their purchasing choices.

Process

Since the brand was born in New York, I decided to involve the city and its history as the hub of its branding campaign. New

Yorkers have a lot of pride and are familiar with the many vibrant cultures they are surrounded by. The quality of jeans was solid

— ‘Made in USA’ with best practices and best materials— but I was more focused on creating a community around the brand

and the company. I wanted a clear message: Chic is New York. I set out to create a campaign by using the values and qualities

consumers not only cared about but already possessed– it was a clothing label that identified with the culture of the city.

Result

An 180 page full color, perfect bound book with brand standards and company practices guide.

P ID


PAGE / 100 PAUL INA MCFARLAND MFA PORT FOL IO AAU / 20 1 1 PROJECT 06 / ADVERT IS ING PAGE / 101


AAU / 20 1 1 PROJECT 06 / CATALOG OPENER PAGE / 103 PAGE / 102 PAUL INA MCFARLAND MFA PORT FOL IO



AAU / 20 1 1 PROJECT 06 / S T ORE PRESENCE PAGE / 105


PAGE / 106 PAUL INA MCFARLAND MFA PORT FOL IO AAU / 20 1 1 PROJECT 06 / CATALOG AND PRODUCT S PAGE / 107


PAGE / 108 PAUL INA MCFARLAND MFA PORT FOL IO AAU / 20 1 1 PROJECT 06 / ECO FURNI T URE PAGE / 109


PAGE / 110 PAUL INA MCFARLAND MFA PORT FOL IO AAU / 20 1 1 PROJECT 06 / CATALOG AND PRODUCT S PAGE / 111



AAU / 20 1 1 PROJECT 06 / CATALOG SPREADS PAGE / 113



AAU / 20 1 1 PROJECT 06 / CATALOG AND PRODUCT S PAGE / 117

07

PROJECT / AUDIoTyPE MUSIC FESTIVAL COURSE / EXPERIMENTAL TyPoGRAPhy |||/|V INSTRUCTOR / ARIEL GREy

Re-Mixed Media


PROJECT / AUDIOTYPE CONFERENCE DESIGN

AAU / 20 1 1 PROJECT 07 / IN T RODUCT ION PAGE / 121 PAGE / 120 PAUL INA MCFARLAND MFA PORT FOL IO

2010

MIXING MUSIC WITH TYPE

Overview

Audiotype is a San Francisco based conference which combines typography and sound. Music and typography are somewhat

parallel art forms with similar formal elements such as rhythm and typographic color, pitch and font character, negative

space and silence. I focused on electronic music since it is often both mathematical and organic, and has more apparent

layers and rhythm than rock or jazz which can be more freestyle and dif ficult to deconstruct.

Process

I wanted to base the rhythm of my typographic explorations and my layout on actual musical compositions. I went on a

steady electronic diet, and in the meantime saw one of my favorite instrumental / electronic bands play in the area. I took

the show as an opportunity to shoot a few hundred photos and use them for the Audiotype catalog. I settled on Vitesse Sans

as my primary body copy, and used a variety of bitmap fonts in combination with some script fonts like Snell Roundhand. It

was a great exercise in mixing and deconstructing type as well as building layered compositions with it.

Result

Audiotype collateral consisted of a takeaway catalog, CD, poster, conference schedule and a set of passes. It was driven

by typographic experimentation with the use of ‘ fresh’ ambient colors in combination with black and white photography.

P



AAU / 20 1 1 PROJECT 07 / EVEN T BADGES PAGE / 123 PAGE / 122 PAUL INA MCFARLAND MFA PORT FOL IO



AAU / 20 1 1 PROJECT 07 / CD DES IGN PAGE / 125



AAU / 20 1 1 PROJECT 07 / EVEN T POS T ERS PAGE / 127

PAGE / 128 PAUL INA MCFARLAND MFA PORT FOL IOPAGE / 128 PAUL INA MCFARLAND MFA PORT FOL IO


AAU / 20 1 1 PROJECT 07 / EVEN T CATALOG PAGE / 129

PAGE / 138 PAUL INA MCFARLAND MFA PORT FOL IO AAU / 20 1 1 PROJECT 9 PAGE / 139

THESIS / ARTIST ’S PUBLIC NETWORK

08

PROJECT / FIREFLy COURSE / DESIGN SUSTAINABILITy

INSTRUCTOR / PhIL hAMLETT

Cleanest Energy

PAGE / 140 PAUL INA MCFARLAND MFA PORT FOL IO AAU / 20 1 1 PROJECT 08 / IN T RODUCT ION PAGE / 141

PROJECT / FIREFLY

2011 FRIENDLY COMPETITION POWERS OUR CITY

Overview

Firefy Project was conducted in collaboration with Good magazine. The scope of this team effort was to imagine an alternative

way of harvesting our energy. Our objective was to reform not only harmful issues like coal extraction or importing Bay Area

energy from out of state, but to go a step further and imagine a truly revolutionary way of generating electricity and getting

rid of the power grid throughout the country.

Process

We conducted research where we looked at various innovations in energy harvesting such as solar power and wind energy.

What caught our attention were several cutting edge, small scale technologies involving piezoelectric power. Our team

set out to re-imagine this self-sustaining process of harnessing electricity on a city and nationwide scale. We studied the

way energy is obtained and distributed and came up with a locally powered city where its inhabitants generated their own

electricity through a program called FireflyTM. This futuristic company developed a device which served as a kinetic energy

harvester and the citizens participating in the project could measure how much energy they produced and consumed and use

it to power their homes. Community is a strong component of this project, where people in the city organize friendly energy

harvesting events like marathons and outdoor games and connect online on a social network website where they can record

their accomplishments and interact with other members.

Results

The result is a city wide system of harvesting energy locally with emphasis on movement, health activities and fun. The

deliverables: a website, an app, an electronic device called Firefly TM, a set of advertisements and calls to action.

ID

PAGE / 142 PAUL INA MCFARLAND MFA PORT FOL IO AAU / 20 1 1 PROJECT 08 / F IREFLY TM DEV ICE PAGE / 143

PROJECT / FIREFLY

PAGE / 144 PAUL INA MCFARLAND MFA PORT FOL IO AAU / 20 1 1 PROJECT 08 / F IREFLY TM APP PAGE / 145

PROJECT / FIREFLY

PAGE / 146 PAUL INA MCFARLAND MFA PORT FOL IO AAU / 20 1 1 PROJECT 08 / F IREFLY TM WEBS I T E PAGE / 147

PROJECT / FIREFLY

PAGE / 148 PAUL INA MCFARLAND MFA PORT FOL IO AAU / 20 1 1 PROJECT 08 / F IREFLY TM WEBS I T E PAGE / 149

PROJECT / FIREFLY

PAGE / 150 PAUL INA MCFARLAND MFA PORT FOL IO AAU / 20 1 1 PROJECT 08 / F IREFLY TM POS T ERS PAGE / 151

PROJECT / FIREFLY

09

PROJECT / ART XX MAGAZINE COURSE / SELF-DIRECTED

Pop Art Activism


PROJECT / ART XX MAGAZINE


2008-2010

ART XX MAGAZINE

Overview

Art XX Magazine was a short lived publication I founded during my school years in the Summer of 2008. It focused on

marginalized artists and DIY culture and presented intellectually challenging and political content.

Process

A lot of mainstream art magazines lacked content by up and coming artists and did not include creative writing and political

as well as social analysis along with visual art. I wanted to find something in an art magazine that would jarr me visually,

engage me intellectually and talk about art from the perspective of being an artist. We found it necessary to fill this gap in

San Francisco.

The three person staff became a small publishing house, handling the project from start to finish with the aid of many good

friends and volunteers who helped organize fundraisers and coordinate various events. I was responsible for art direction,

design and delivery to print, however we all had creative and curatorial input.

In 2009 we formed a 501c(3) organization, which is still active within the San Francisco art world. We often organize cultural

events such as talks at libraries, independent media events and gallery shows which brings attention to art communities

marginalized on the basis of their race, gender or politics.

Result

80 page glossy art magazine, which still exists as Aorta Magazine and artist collective active in the San Francisco visual and

performing arts community.

PAGE / 156 PAUL INA MCFARLAND MFA PORT FOL IO AAU / 20 1 1 PROJECT 09 / ART XX SPREADS

PAGE / 157


AAU / 20 1 1 PROJECT 09 / ART XX SPREADS PAGE / 159



AAU / 20 1 1 PROJECT 09 / ART XX SPREADS PAGE / 161



AAU / 20 1 1 PROJECT 09 / ART XX SPREADS PAGE / 163 PAGE / 162 PAUL INA MCFARLAND MFA PORT FOL IO

10

PROJECT / ARTISTS PUBLIC NETWoRk COURSE / MASTER’S ThESIS

ADVISORS / MIChAEL kILGoREBRAD R–––hoDES

Master’s Thesis

Image courtesy of Shawn Tamaribuchi.




2010-2011 A NECESSARY INTERVENTION

Overview

Since the demise of Art XX Magazine in 2009, I have been planning another publication with a slightly different focus. With my

thesis project I am planning to create a center of economic support for artists in the Bay Area. The project is comprised of three

components: access, visibility and awareness. It serves to provide artists with resources, exposure and brings to light pressing

issues artists deal with such as lack of health insurance, steady employment or covering costs of exhibiting at private galleries.

Process

A big part of this project consists of conducting research about various issues which concern artists and making resources

available to the public. The design of the posters for the campaign is a collaboration of my illustrations and those of Hanna

Gustavson. The process of building the content for the magazine involved interviewing artists and members of Beehive

Collective, W.A.G.E and Recology Center to name a few.

Result

The project consists of a print magazine which serves as the visibility component; a website which promotes the magazine but

also serves as a center for resources; a series of artist guides to help artists succeed in the beginning stages of their careers

and an awareness campaign where artists can put their perspective into the world. The last component is designed to bring

artists closer to the audience and take the art out of the galleries and into the streets. This organization’s goal is to help artists

survive tough economic times and influence the public to invest in art locally and even shift their way of thinking on the role

of artists in society.

P ID

PAGE / 168 PAUL INA MCFARLAND MFA PORT FOL IO AAU / 20 1 1 PROJECT 10 / PROCESS PAGE / 169


PAGE / 170 PAUL INA MCFARLAND MFA PORT FOL IO AAU / 20 1 1 PROJECT 10 / MAGAZINE L AYOU T PAGE / 17 1


AAU / 20 1 1 PROJECT 10 / MAGAZINE L AYOU T PAGE / 173



PAGE / 174 PAUL INA MCFARLAND MFA PORT FOL IO AAU / 20 1 1 PROJECT 10 / MAGAZINE L AYOU T PAGE / 175


PAGE / 176 PAUL INA MCFARLAND MFA PORT FOL IO AAU / 20 1 1 PROJECT 10 / APN WEBSI T E PAGE / 177


PAGE / 178 PAUL INA MCFARLAND MFA PORT FOL IO AAU / 20 1 1 PROJECT 10 / ART IS T ’ S GUIDES

PAGE / 179


PAGE / 180 PAUL INA MCFARLAND MFA PORT FOL IO AAU / 20 1 1 PROJECT 10 / ART IS T ’ S GUIDES PAGE / 181


PAGE / 182 PAUL INA MCFARLAND MFA PORT FOL IO AAU / 20 1 1 PROJECT 10 / APN S T REE T CAMPAIGN PAGE / 183


The purpose of the campaign is to bring attention to the difficulties facing the artists in this economy. It is a message from the

art community to non-artists to ask for involvement, to educate, to demystify the persona of the artists and all of the wrong

assumptions that may go with it, and finally to bring art to everyday spaces.

The awareness of the public is the most important aspect of the campaign. For many years now artists operate as independent

cultural workers, which puts them in control of their labor, and therefore places them in the middle-class economic brackett.

Artists are also one of the most educated worker groups, but the scarcity of government sponsored jobs, the random trends

and exclusive nature of the art market create a situation where average artists have difficulty competing for resources. Artist’s

income is closer to the working poor than their class status, however their expenses exceed what others typically spend on

necessities. The added on expenses involve maintenance of a studio space, art supplies which are expensive, costs of partici-

pating in art shows, self promotion – all on top of expenses tied to maintaining a household.

The public often regards art as a hobby not as a viable career and many Americans are simply not in the habit of buying art or

going to galleries regularly and supporting arts organizations. The government is also hostile by slashing art education budget

every time the economy is in crisis. All of these issues take a toll on artist’s health and financial success when average artists

live in prolonged poverty and seldom achieve economic security.

Taking it to the streets

AAU / 20 1 1 PROJECT 10 / POS T ERS PAGE / 185



Drawings by Hannah Gustafson

PAGE / 186 PAUL INA MCFARLAND MFA PORT FOL IO AAU / 20 1 1 PROJECT 10 / POS T ERS PAGE / 187


AcknowledgementsTo my family for helping me out with kind and loving words. To my Academy

professors Phil hamlett , Michael kilgore, Mary Scott and hunter Wimmer for being

both demanding and kind and keeping us motivated in our darkest hours. To the Aorta

Collective for having the best of politics and for always keeping things going. To my

wonderful friends for being my solid foundation. Thank you!

Academy of Art University / School of Graphic Design

Paulina [email protected]

Instructor /Mary Scott

Printing/Giant Horse Printing1336 San Mateo Avenue South San Francisco, CA 94080

Bookbindery /The KeyTel : 510.595.3311Oakland, CA

Photography /Paulina McFarland

Cover Stock /Arrestox Pewter, Davey Binder’s Board

Fonts /Tesca Flaca / Gorda / NormalLinotype Univers Condensed Light / Italic / Bold

Software /Adobe Creative Suite 5

©2011 All rights reserved. No part of this publication can be reproduced without express permission from Paulina McFarland.

mfa portfolio book

Documents

movie project

fes t i val catalog

fes t i val t icke t

fes t i val catalogpage

fes t i val pos t ers

fes t i val dvd s page

t roduct ion page

low budget film