A CATALOGUE OFCURIOSITIES, RELICS, ART & PROPAGANDA

THE STONE TWINS

ACATALOGUE

OF CRAP

Written and designed by The Stone Twins, AmsterdamPrinted by Vegrin de Meer, Diemen

www.stonetwins.com

First, and last, edition 2010 Copyright © 2010 The Stone TwinsPublished on the occasion of the 40th Anniversary of The Stone Twins.

This booklet contains material – including text, photographs and other images – which was pilfered from a number of sources, including third-parties whoever they are. Legal action taken against the authors is useless as they do not have any money.

Please note that although no attempt has been made to obtain copyright permission, no text, graphics, or images from this booklet may be copied, reproduced, distributed or shared with competitors whatsoever, without the express written permission of The Stone Twins. The authors reserve the right to jam the head of any person who duplicates their work into the photocopier.Requests for commercial use of any images featured in this booklet should be directed to: info@stonetwins.com

For Mam & Dad

We were never being bored,‘cause we were never being boring.

Tennant / Lowe

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INTRODUCTION

November 2010 marks the 40th birthday anniversary of The Stone Twins. A milestone. Four decades during which almost everything was shared, and togetherness was the norm. From the double pram to the double bed, from splitting pencils to splitting bills. Shared experiences and a shared ambition. Almost everything in a double portion. With sharing, there’s a better Christmas present; but there’s also inherent trust and respect. Perfect attributes for a successful business venture. And don’t forget, a healthy dose of self-criticism and unhindered abuse. Where sparks may fly but the chemistry is sacrosanct. Double-fun and double trouble. This catalogue is a potpourri of venerated objects and people. A visual timeline of a life conveyed through curiosities, relics, art and propaganda. C.R.A.P. In the selection, we convey our passions, sources of inspiration and some of our pet-hates. When The Stone Twins was established as a professional practice in 1999, there was no master-plan. No big desire to conquer the world in bold slab type, or paint the town fluorescent red. We simply wished to remain curious, maintain an appetite for new ideas and a hunger for inspiration. And, of course, create some jaw-dropping, hair-raising work along the way. Some people say that we work too hard, and that the lines between work and play are muddled. But with any passion, these distinctions are intertwined. The truth is, we enjoy what we do. We feel privileged to be in a profession where

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we’re constantly challenged and free to dip in and out of the schizophrenic zones demanded by different clients. On any typical day, we might have to streamline business process with ING in the morning – and then aim to reach and engage with a Nike FOT after lunch. Overall, our freewheeling, but not carefree, journey has led to many exciting and bizarre encounters. We’ve met supermodels in LA, football demigods in Munich and an injection moulder in Diemen. Not to mention, some accidental cruisers in a London graveyard. It is these experiences that inform and titillate our imaginations. Although conjoined in spirit and attitude, and a shared genetic component, we do have differences. For a start, Declan has a penchant for Soya milk and skinny jeans, while Garech prefers dairy and loose-fit. Declan sprays on ‘CK Be’ and Garech wears ‘BOSS’. But this is material for another book, so let’s just acknowledge the differences. We’re like two speakers plugged into a sound system. The same track with different frequencies. One melody amplified in stereo. Super-Dual-High-Fidelity-Stereo. As we evolve and morph, we wish to do all this whilst remaining humble and nice. To remain grounded in a little thing called reality, and without losing a sense of fun. Therefore, we’d like to express our sincere and heartfelt thanks to our parents. Without them, we would be nothing. We would especially like to thank Marieke and Sam for making life even more fulfilling. And last, but not least, we are also indebted to our sisters, friends, exes, colleagues, clients and school-teachers. This book is a celebration of our 40 years. Welcome to our Pleasuredome.

The Stone TwinsNovember 2010

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CATALOGUE

THE ART OF LOOKING SIDEWAYSU2 ‘ZOOTV’ CONCERT TICKET OLIEDOM STICKERBALACLAVAMODE EN MODULEMAZZO FLYERCONEY ISLAND TWINS FESTIVAL POLAROIDSUPERSUB ‘FLY PILOT FLY’THE FAST SHOWADIDAS TRX AIR FORCEWILLY WONKA & THE CHOCOLATE FACTORYPOPE JOHN PAUL II TOUR T-SHIRT VIA MILANO BUBBLE-WRAPBNO DUTCH DESIGN BOOKSDESIGN ACADEMY EINDHOVEN T-SHIRTSHELL KEYRINGPOWER MACINTOSH G3 50 GUILDER BANKNOTETHE AGE OF CONSENT, BRONSKI BEATLIAM BRADY, FOOTBALL CARDMASSIVEMUSIC BALLOONSENSATION CATALOGUEA LOCK OF CURLY HAIRAER LINGUS AIRLINE TICKETHAIRY MIDGETGOLD COMMUNITY GAMES MEDALPOLYESTER SUITMIFFY AT THE PLAYGROUND

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CATALOGUE (CONTD.)

MIND THE GAP TICKETRAZZLESOUNDCIRCUS INVITEBBH NOTEBOOKTAKE HART VIDEOA CLOCKWORK ORANGEERICSSON A1018SSACRAMENTAL WINE, VINTAGE EYE NO. 4 (VOL. 1)LOGO R.I.P. GILBERT & GEORGE PUSH TOYQUEEN’S DAY TREASURES

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2001. By Alan Fletcher. Minimal wear and tear, considering constant usage. No missing or damaged pages.

This fairly weighty tome has regularly tingled our fingers and mind. Alan Fletcher’s inexhaustible guide to visual awareness is a wonderful medley of quotes, anecdotes, visual puns and bizarre facts. It’s not a book to read sequentially from cover to cover, rather an environment of ideas and stimuli through which to journey. Perfect, considering our short attention spans.

THE ART OF LOOKING SIDEWAYS

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1993. This is a portion of rock history. Item printed in gold foil and fluorescent ink. Dated: RDS Arena, Dublin, 28th Aug. 1993.

During the ‘80s, we hated U2: the pomp, the fist-clenched polemic, the mullet and those awful cowboy hats. But that all changed when Bono discovered self-deprecation, irony and electronic dance music in 1991. The supporting ‘Zoo TV’ Tour was a thrilling live multimedia experience with a belly dancer; and a riveting way to bypass Jean Baudrillard and discover post-modernism.

U2 ‘ZOOTV’ CONCERT TICKET

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2003. Rare item in mint condition. Part of a guerrilla sticker campaign* that was instigated on the eve of the Iraq war.

By highlighting the word ‘Oil’ in the common Dutch word to mean stupid (‘Oliedom’), we emphasised the real motive behind the war. An invasion that cost the lives of countless souls. After seven years (and not a single WMD in sight), the US combat mission in Iraq came to an end but not before countless Western Oil companies signed no-bid contracts to ‘service’ Iraq’s largest fields.

Nomination Dutch Design Awards 2003

OLIEDOM STICKER

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1981. High quality thick knitted Balaclava (70% Merino Wool, 30% Pubes). Size: one size fits all. It’s a true historic collectable.

Unwittingly used to retain heat during severe Irish winters, this hat (knitted by our Aunty Biddy) was confiscated during a period of intense violence in neighbouring Northern Ireland in 1988. It was returned in 2000 as part of a conditional early release two years after the signing of the Good Friday Agreement.

BALACLAVA

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1997. By Wim Crouwel. Excellent condition. Ever-present on bookshelf since purchase (sandwiched between Modern Toss and Roy Keane: The Autobiography).

This monograph examines the life and work of Wim Crouwel; and apparently describes how, under the spell of modernism, Swiss typography and gridded-stroopwafels he decided to make graphic design his profession. Declan bought the book because he liked the circles on the cover – and was then captivated by the grid systems and pioneering dot-matrix typefaces.

MODE EN MODULE

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1995. Rare flyer from the famed Amsterdam club. Resident DJ Paul Jay. Dated Friday 23rd June 1995. Design by Vincent.

In the days when there was no distinction between work and play – this intimate club offered an escape. After donning our ‘Mac & Maggie’ clothing and having it large, we’d hit the dance-floor with unfettered abandon. All chilled out and loved up, we believed that everything, including our crappy-BNO-approved wage and Irish-dancing-skills, was OK.

MAZZO FLYER

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2005. This is an original 3.5 x 4.25” Polaroid, taken by an anonymous Mexican photographer. Pristine condition.

Back in 2005, Declan implored his brother to join him in New York in order to gain entry to the famed ‘Coney Island Twins Festival’. However, after only one ride in Astroland, much of our innate self-assurance was completely dashed. To see hundreds more identical siblings boasting tandom-trampolining skills, practising Twincest or finishing one another’s sentences was simply too much.

‘CONEY ISLAND TWINS FESTIVAL’POLAROID

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1999. An almost new limited-edition box; complete with decal-sheet. Original artwork: Roy Cross.

Although we only billed about Fl. 25,-, blood, sweat and tears were invested into this assignment. A process where we literally took shifts on a solitary computer, and even took up watercolours again. Graciously, we accepted the five-star ratings – encouragement that coaxed us on a hedonistic journey of decadence and flirtations with groupies, media moguls and a bleached pin-up from the ‘80s (not).

SUPERSUB ‘FLY PILOT FLY’

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NEW ALBUM OUT NOW • LIMITED EDITION BOX AVAILABLE • WWW.SUPERSUB.NL

S T E R E O

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1994. This is a VHS PAL video featuring Series One of The Fast Show. An item with significant wear, but is still operational.

Aren’t videos brilliant?! This one is simply packed with some of the most memorable comedy characters and catchphrases. Repeated re-runs never dim the brilliance of the sleazy ‘Suit You Sir’ salesmen, the competitive Dad, the permanently inebriated Rowley Birkin QC, the slimy used car dealer Swiss Toni, or the nonsensical football pundit Ron Manager. It’s comedy carpet-bombing. Brilliant!

THE FAST SHOW

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2007. Colour: Blue Electricity Lemon Peel / Size: 42. Complete with iconic blue shoe-box and a vast colony of microorganisms.

These über-cool trainers were obtained during Garech’s spell at 180 Amsterdam – and were part of the unofficial uniform at this international advertising agency. For almost two years, in the midst of global campaigns for adidas and SONY, Garech was truly indoctrinated into a world of make.believe©, where impossible is nothing®.

ADIDAS TRX AIR FORCE

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1986. A VHS video item – standard version (open matt print). Features fuzzy/snowy frames during Slugworth sequences.

This quirky movie, from 1971, comes high up on our list of all-time favourites. It’s surely the definitive film version of Roald Dahl’s classic tale; and rich in wit, fantasy and black humour. We credit the deliciously judgmental songs of the Oompa-Loompas (on themes like obesity or TV consumption) as a profound influence on our lives.

WILLY WONKA &THE CHOCOLATE FACTORY

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1979. This is an ultra-rare tour T-Shirt commemorating ‘JP-II in the Phoenix Park, Dublin’. Official Vatican merchandise.

Along with sanctified souls, this is the only treasured souvenir from our first major gig. Despite thwarting the development of a more pluralistic state, not to mention the tsunami of abuse-scandals, the front-man of the world’s biggest church attracted over one million groupies. Before the Pope arrived in an adapted ice-cream van, entertainment was provided by the Garda Band, school children with bodhráns and a nun with hairy legs.

‘POPE JOHN PAUL II – DUBLIN’TOUR T-SHIRT

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2001. Lightweight, water resistant bubble-wrap. Original prop used for character ‘BubbleWrapMan’© in publicity photos.

In 2001, The Stone Twins devised the brand name ‘Via Milano’ for the inaugural exhibition celebrating the best of Dutch Product Design. We were also responsible for the graphic and spatial design (and the oxidised obliteration of a Job Smeets’ copper sickle). For the publicity campaign, a drawing of lots determined which one of us was wrapped in Bubble-wrap, to pose by Milan’s famous landmarks.

‘VIA MILANO’ BUBBLE-WRAP

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1992. This classic box-set designed by Koeweiden Postma. Does not look new and has been well thumbed. Featuring heavyweights: TelDesign, BRS and Dennis the Great Dane.

This monumental pair of books opened our eyes to the diversity and exuberance of Dutch Graphic Design; and reaffirmed the barren landscape of Dublin’s design scene. Deemed as excess baggage at the airport, Declan was forced to leave behind a Bible and a box of Lyons tea bags. In an era before the World Wide Web, the books were an essential directory to aid the Dutch job-search.

BNO DUTCH DESIGN BOOKS

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2010. White crewneck t-shirt featuring DAE logo and slogan “Kiss the Future”. Heavyweight 100% preshrunk Jersey cotton. Size M. No rips, stains, or tears.

In Autumn 2010, Design Academy Eindhoven unveiled a new corporate identity, created by The Stone Twins. The real buzz comes with the inclusive nature of the design strategy which invites participation from the students. As well as harnessing their talent and wide-eyed enthusiasm, it’s also an opportunity for us to feel energized and rejuvenated.

DAE T-SHIRT

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1985. Aluminium key holder emblazoned with the iconic Shell logo, designed by Raymond Loewy.

When our dad was a diligent employee of Shell, our home mutated into a shrine of red and yellow merchandise. Instead of collecting Air Miles, he assembled an eclectic array of fleece-jackets, beach towels, electric blankets, suitcases, crystal decanters and a fondue set. It was definitely an eye-opener to the effectiveness of a consistent brand image.

SHELL KEY-RING

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1999. Still in perfect working condition. Features a 300 MHz PowerPC 750 processor, 64 mb of RAM. Design: Jonathan Ive.

Soon after Garech left the studio Vorm Vijf, The Stone Twins abandoned the world of beige computers and bought this translucent Polycarbonate blue and white beauty. For several months, we cursed Apple in the struggle to mate our SCSI peripherals with the new USB ports. It was also kinda difficult envisioning the future without a floppy disk drive.

POWER MACINTOSH G3

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1994. An authentic Dutch 50 Guilder banknote. It has been double folded and has some creases in the sunflower motif. Otherwise, this design classic is in good condition.

Without exaggeration, the visual exuberance of Ootje Oxenaar’s currency designs were a magnet, pulling us in to discover and demystify Dutch Design. Resembling more club flyers, than a national currency, the vibrant colours, unexpected themes and formal inventiveness were quite a contrast to the cliché-ridden and insipid designs of Irish banknotes.

50 GUILDER BANKNOTE

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1984. An original pressing of Bronski Beat’s debut album*. Vinyl features some light scratches, and a scuff due to repetitive use.

This is the first album that we bought. Lured by the truly scarifying falsetto of Jimmy Somerville’s singing, we were oblivious to the meaning of the title, the political commentary on gay related issues and the lucid cruising in the ‘Smalltown Boy’ video. Much to our parents displeasure, we continued to purchase even more gay music in the 1980s: Frankie Goes to Hollywood, Soft Cell, Erasure and Def Leppard.

Note: At 45rpm, this album sounds like Gabber-house.

THE AGE OF CONSENTBRONSKI BEAT

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1978. A pristine trading card featuring Liam Brady of Arsenal. Season 1978/1979. Unused with authentic back. Originally traded for Arnold Mühren (Ipswich Town).

As kids, we idolised Liam Brady. Whilst other Irish footballers were practitioners of the Neanderthal ‘kick-and-rush’, Brady was a midfield general of sublime vision and skill whose left foot was an instrument of almost celestial precision. Apparently his nickname ‘Chippy’, was derived from his fondness for fish and chips – and not for his ability to chip the ball.

LIAM BRADY, FOOTBALL CARD

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2000. Deflated orange latex balloon featuring MassiveMusic logo; and text “A night to remember, and a morning to forget.”

The MassiveMusic logo was first rendered after several glasses of beer whilst discussing representations of sound by sine waves and the flowing locks of founder Hans Brouwer. Ten years later, the ‘Swiggle’ adorns MM offices in Amsterdam, New York, Los Angeles and Shanghai. According to our attorney, the logo is featured in more design books than actually reproduced by MassiveMusic itself.

MASSIVEMUSIC BALLOON

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1997. A comprehensive and large scale catalogue with some minor edge tears, the overall condition is good to excellent.

This publication is not a celebration of the tacky trance night in the Amsterdam Arena, but the ground-breaking exhibition of the YBA (Young British Artists), at the Royal Academy of Art. Curated by one of our favourite madmen Charles Saatchi. Momentous or crap, the art undoubtedly engaged with a broad public, and encouraged discussions about child murderers, anus mouths and a slag’s tent.

SENSATION CATALOGUE

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2009. A genuine tress from the head of Marieke. Featuring natural kink and curl. Healthy and in good condition.

Marieke, the unsung hero of The Stone Twins, literally pulled this clump of hair out after another session listening to the same tedious jokes. Throughout the years, she has acted as our occasional translator, courier, therapist and debt collector. If she could use a keyboard, she would have been our secretary and photo-retoucher.

A LOCK OF CURLY HAIR

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1996, used. Routing: Amsterdam – Dublin. Printed on carbon paper. With minor staple holes in front and some slight creasing.

This ticket offered a visit ‘home’ to see our family and keep tabs on the birth of the now extinct Celtic Tiger, and it’s bastard offspring Riverdance and Boyzone. Nowadays, we don’t have to pay exorbitant airfares – thanks to a liberalized market and Michael O’Leary. Besides, who misses the rubbery Irish breakfast sealed in a sweaty plastic tub?

AER LINGUS AIRLINE TICKET

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2000. Homo floresiensis with hypertrichosis (male). Discovered on the Belgian border. Good at complimenting strangers.

At least once a year, The Stone Twins attempt to incorporate a hairy midget into their assignments. He has made successful appearances in all of the MassiveMusic events in Cannes, and a proposal for the ‘Nationaal Historisch Museum’. We guess the fascination was born in the ‘80s television schedule of Fantasy Island, Different Strokes and ZZ-Top.

HAIRY MIDGET

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1984. 50mm embossed medallion in yellow copper. Engraved with the description “Winner”. Comes complete with ribbon.

This Gold medal was awarded to Garech (whilst representing Dublin) in the U14 category of the National Art Finals. His winning water-colour depicted Eamonn Coghlan and was completed within the two hour allocation. It’s reasonable to assume that the competitiveness and implausibility of ‘The Community Games’ had a profound effect on The Stone Twins.

‘GOLD’COMMUNITY GAMES MEDAL

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1999. Polyester suit in reasonable condition. Shows wear and tear, with musky hints of Brylcreem.

A set of identical Bijenkorf suits was bought to impress our first ‘serious’ client: Control Finance. The creation and management of their corporate identity provided a degree of sanity from our other clients in the cultural and creative sectors. Thanks to Messrs. de Hertog and van Beek, we gained fluency in PowerPoint® and gobbledygook business terms; as well as a belated appreciation for impeccable tailoring.

POLYESTER SUIT

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1975. By Dick Bruna. Vintage Hardback book. 155 x 155mm. Cover has some degree of edge and chewed corners.

We’ve been fans of the little rabbit ‘Miffy’ ever since kindergarten. In later years, we appreciated the brilliant reductiveness: the economy of line, colour and text – and began collecting the books and the vinyl dolls. With the birth of Garech’s son Sam on the 28th November 2009, many of these designer toys were liberated and became toys again.

MIFFY AT THE PLAYGROUND

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1996. Ticket for design conference. Printed in CMYK with silver. Design by Koeweiden Postma. Dated: 6th October 1996.

This ticket introduced us to the key personalities behind the best of British graphic design: Peter Saville, Fuel, Me Company, North, Designers Republic and the fat bloke from Tomato. We were familiar with their work but to see the eye-popping presentations was simply inspiring. Not since, techno-act ‘System 7’ had we left the Paradiso so elated.

‘MIND THE GAP’ TICKET

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1983. Razzle Vol 6 No 3. 80 pages in good condition. Pages have light to moderate finger-creasing.

Way back in the ‘80s, adult magazines were extremely difficult to procure in Ireland. We guess it was easier to import Semtex. ‘Razzle’ was at the vanguard of publishing and magazine design; introducing us to tight-kerning, bézier curves, experimental formats and the dynamism of a good spread. Not to mention, the art of the double entendre.

RAZZLE

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2007. Poster Invite printed in fluorescent-pink on Chromolux. 500 x 700 mm sheet folded down to 116 x 250 mm.

This poster announced the official opening of ‘SoundCircus’. An intrinsic aspect of this dynamic identity is the numerous circus-themed slogans set in stylised sound-waves, e.g. “The greatest sound studio on earth featuring Kees and his amazing Twiddling knobs”. The expressive and playful typography simply demands engagement and was awarded the Dutch Design Award, for Best Corporate Identity, in 2008.

SOUNDCIRCUS INVITE

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2005. Genuine BBH notebook. Hardback with unlined pages. Some spreads contain cinnamon raisin bagel crumbs.

This notebook offers glimpses into two awesome years spent by Declan at BBH New York. Page after page contains records of notes from meetings, AXE script ideas, random doodles, concepts for Levis and entries on ‘murders and executions’. Occasionally, the BBH black sheep logo strays onto the pages, together with the one-line manifesto ‘When the world zigs, zag’.

BBH NOTEBOOK

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1982. Home-recording of penultimate series of ‘Take Hart’ on Betamax videocassette tape. Re-wound and in good condition.

Despite rejection to the ‘Gallery’, we are proud to say that Tony Hart inspired us to paint and draw – not to mention, raid our mum’s food cupboard for the macaroni and lentils needed to create colourful montages. We loved his soothing, almost hypnotic presentation style, his Farah shit-stoppers and, of course, his plasticine sidekick ‘Morph’.

‘TAKE HART’ VIDEO

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1990. By Anthony Burgess. Used paperback book. Published by Penguin Books, London, 1972. Design: David Pelham.

Kubrick’s masterpiece was already ingrained in our psyche before we made a stab at reading the novel. Often, established and vivid film imagery can intrude in the enjoyment of reading, but in this instance, book and movie compliment each other, especially when decoding the futuristic slang of the main protagonist Alex. It’s a dark, disturbing and trilling joyride. Yumyumyum.

A CLOCKWORK ORANGE

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1998. A sturdy reliable brick. Comes with numerous coloured front panels and the numbers of all of Declan’s exes.

Back in 1998, this cell phone and Garech’s Nokia 6110 empowered The Stone Twins on their first tentative business steps. The phones gave us mobility; and liberation from a fixed location and the same coffee machine. With increased availability and reachability, we truly believed that we could conquer the world – making high-fives, like the models in the business images of a Tony Stone catalogue.

ERICSSON A1018S

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1980. One sealed bottle of ruby-red, full-bodied and dry burgundy; better known as ‘Blood of Christ’.

This wine received daily ecclesiastical approbation by the Priests of St. Marks Parish, Dublin. Through transubstantiation, the wine became the body, blood, soul and divinity of Christ. Once cornered in the sacristy, we are eternally grateful that the Reverend Father Noone only introduced us to cheap alcohol. No happy hour for him then.*

Lord, have mercy on us. Christ, have mercy on us. Lord, have mercy on us. Christ,hear us. Christ, graciously hear us.

SACRAMENTAL WINE, VINTAGE

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1991. 96pp plus cover, 297 x 237 mm, coated and uncoated sections. A rare and highly collectable item.

For nearly 20 years, the thud of ‘Eye Magazine’ popping through our letter box triggers eager anticipation. Offering more than eye-candy, it’s the only publication with a serious critique and review of the world of graphic design. This bumper issue introduced us to the idiosyncratic talent of Robert Brownjohn and the typographic anarchy of Wolfgang Weingart.

EYE NO. 4 (VOL. 1)

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2003. A nicely preserved book on the demise of corporate symbols. Intro by Gert Dumbar. First Edition.

Written, designed and signed by The Stone Twins. Logo R.I.P. works both as a critique of corporate culture and a celebration of 50 of the past century’s most resonant corporate symbols. The book achieved both critical acclaim and commercial success, and was featured in such diverse publications as Eye Magazine, Wallpaper, The Sunday Times and Funeral Director Monthly.

LOGO R.I.P.

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2007. Wooden toy in immaculate condition. Official merchan- dise from retrospective at Tate Modern. By Kit Grover.

In 1984, our parents dragged us along to ‘Rosc’ Modern Art Show, in Dublin. It was our first encounter with the large scale and vibrant colours of Gilbert & George. The confrontation, profanity and frequent hilarity instantly connected with our imaginations. In fact, the eccentric duo’s brand has left an indelible mark on us – and made it OK to have mannered discussions about shit, blood and spunk.

GILBERT & GEORGESINGING SCULPTURE PUSH TOY

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1994–. Assorted items of varying sizes. Items have a worn finish and are being issued in a banana box.

The annual mission to get up early and browse the ‘Vrijmarkt’ (the world’s biggest collective street market) is usually rewarded. Down the years, we have purchased a mélange of curiosities such as type specimen catalogues, x-rays, soiled-Clerical clothing, tumbleweed, a complete set of prosthetic limbs and Duncan the stuffed duck. Occasionally, this juicy-junk is ripe for plunder.

QUEEN’S DAY TREASURES

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AABC, 56, 78Absolut Vodka, 12, 213Adams, Gerry, 12Adformatie, 400, 403, 201Adriaans, Nils, 183Aink, Mark, 234, 412, 689Aldred, Victoria, 723, 789Alexander the Great, 22Ali, Ayaan Hirsi, 22, 168Ali, Muhammad, 344Allen, Vaughn, 685Allen, Woody, 278-290Almond, Marc, 4, 434, 812Amstel, Merel van, 785Anderson, Paul Thomas, 342Anderson, Wes, 456Apple Macintosh, 65, 149, 201Apprentice, The, 321Arden, Paul, 308-319Arends, Christie, 432Argos, Centre of Art & Media, 302, 367Armstrong, Neil, 1, 15Art of Noise, The, 309

BBaan, Joachim, 304Baar, Vincent van, 212, 345BABY, 100Bacon, Francis, 456Bakker, Edwin, 560Banksy, 356Bartle Bogle Hegarty, 203, 345-365Bastard, Alex, 302Basten, Marco van, 102Beeke, Anton, 315Beijer, Tim, 203Bell, Dave, 367Berge, Dick ten, 32, 61Berge, Marieke ten 11, 34-37, 88, 118, 134, 234–255, 304, 398, 436, 478, 450–490, 501, 543, 566, 562–foreverBergkamp, Dennis, 389Berman, Scott, 34, 56, 245, 456Berners-Lee, Tim Best, George, 12Best, Paul, 45Beving, Joep, 132Bezem, Dick, 99, 129, 254, Bihl, Martin, 345Binsbergen, René van, 45, 705Blackadder, 68, 100, 167, 312, 416Blauwen, Hilde de, 423BNO, 67Bohlander, George, 432Bolger, Jonathan, 45, 79, 87

Bonaparte, Napoleon, 678Bono, 137, 456, 499Boon, Wouter, 256, 532Bosco, 34Botton, Alain de, 23Bowie, David, 89Braaksma, Edzo, 213Brady, Liam, 32, 546Branson, Richard, 201Bratten, Peadar, 12Breasts, 1-598Brennan, Tina, 23Brody, Neville, 64, 312Bronski Beat, 89Brouwer, Analik, 506Brouwer, Hans, 23, 435Brownjohn, RobertBrûlé, Tyler, 267-270Bruna, Dick, 1, 871Brunel, Isambard Kingdom, 21 Burgess, Anthony, 23Burg, Renda van der, 267Byvanck, Valentijn, 301

CChalmers, Mark, 34, 56, 89Chaplin, Charlie, 302Chapman, Dinos, 56, 220Chapman, Jake, 56, 220Charlton, Jack, 345, 201Christ, Jesus, 49, 165, 213, 567, 590Churchill, Winston, 15, 18 Claus, Santa, 1Clockwork Orange, A, 281Cockring, The, 23, 98Cohen, Dagan, 77, 106Collins, Michael, 482Columbus, Christopher, 11Connolly, James, 202Connor, Ado, 345Control Finance, 38Cook, Captain James Coppola, Francis Ford, 167, 312, 402Corbijn, Anton, 134, 138, 356Crawford, Ilse, 278, 395, 616Creative Review, 43Cristian, 342, 563, 890Cruijff, Johan, 102Crumb, Robert, 465

DDad, 01, 23, 167, 214, 267, 312, 389, 405-460 Daniëls, Ivo J., 126Daniels, Iwan, 156, 354Darwin, Charles, 1Davenport, Tiffany, 78, 209, 345

INDEX

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Dawkins, Richard, 89, 120, 356, 590 Dazed & Confused, 67DBA, 92Deasy, Brendon, 304Debussy, Claude, 342, 589Delany, Helen, 56Dennis the Menace, 4Depeche Mode, 217Depraetere, Frie, 567Derksen, Lukas, 612Diamond, Jared, 331Dickens, Charles, 109 Dolan, Joe, 12, 18Dolan, Vanessa, 102Dover, Ben, 567Doyle, Roddy, 234Dragons Den, 109, 111Drew, Ronnie, 12Driesson, Marc, 430Droga5, 346Dublin, 21–67, 872Duiveman, Marjo, 321Dumbar, Gert, 389, 403, 789Dutch Design Awards, 251Dyson, James

EEggenkamp, Anne Mieke, 56, 512Eller, René, 213Elliot, Brian, 402Emzin, 567, 599Enfield, Harry, 567, 670Enthoven, Tim, 45, 212Escher, M.C., 201Eye Magazine, 8, 12, 287

FFace, The, 290, 312Farrell, Colin, 456Farrow, Mark, 34, 56, 678Ferguson, Alex, 32, 345Ferguson, Niall, 217Finch, Kerrie, 487Fisk, Nil, 110Fisk, Robert, 230Fitzgerald, Garret, 16, 34, 219Fleming, Alexander, 12Fletcher, Alan, 19, 27, 29, 310, 345Floor, Michael, 254Fluke, 18Ford, Tom, 118Fortuyn, Pim, 567, 592Fox, Sam, 3, 6–56Francés, Tirso, 234, 348Frank, Anne, 127Frankie Goes To Hollywood, 78, 110

Friedman, Thomas L, 410Frisk, Ryan Pescatore, 345Fuel, 249

GGaal, Louis van, 201, 208Gabaut, Anais, 789Galen, Peter van, 249Games, Abram, 420Gandhi, Mohandas “Mahatma”, 108Garvey, Sinéad, 23, 29, 38, 60Geldof, Bob, 86, 103, 167Gelner, William, 345George, Boy, 12Gervais, Ricky, 780, 813Giesberger, Charles, 412Gilbert & George, 102Gimp (see Gunshenan, John)Gladwell, Malcolm, 401Glazer, Jonathan, 569Glitter, Gary, 103Goemans, Michiel 161, 187, 205Gogh, Vincent van, 402, 456, 467Golding, William, 3, 72Gorbachev, Mikhail, 361Gorodecky, Richard, 108, 239Grainne, 23, 45Grandad, 1, 35, 68, 90, 145, 209, 389, 401Granny, 1, 35, 68, 90, 145, 209, 389, 401Greenberg, Bob, 989Grid, The, 201, 320Grondel, Annemiek van, 67, 23Guinness, 1–679Gunshenan, John, 59, 412, 659–662

HHaan, Emilio de, 267Hague, The, 201, 245, 302Hale, Richard, 69Hartog, Linda den, 302, 489, 876Hart, Tony, 22, 28Hasselblad, Isolde, 291Hauer, Rutger, 101Hegarty, John, 304Heineken, Freddy, 12Henneman, Vanessa, 213, 453Hesen, Eric, 451Hill, Grange, 189Hirst, Damien, 205, 239, 279Hogenbirk, Jolanda, 12, 56Holmes, David, 87, 89Hornby, Train, 26, 32, 58Howell, Aaron, 45, 312Huisman, Rob, 674Hume, Gary, 201Hume, John, 34, 39, 129

44

IIndie, 521–540Ingham, Dylan, 438Ireland, 23, 29, 45–102Ive, Jonathan, 40

JJameson, 201, 302Jameson, Jenna, 89Joan of Arc, 34Jobs, Irish, 120, 203Jobs, Steve, 69Johnson, Holly, 22, 26, 45, 690, 702Jones, Grace, 23, 56, 780, 908Jonkers, Gert, 421Jonze, Spike, 109, 112Jordan, Eddie, 201, 234, 467Jordan, Neil, 671Joyce, James, 62

KKadouche, Marjorie, 569Kalman, Tibor, 247Keane, Robbie, 458Keane, Roy, 227, 345, 458Kees, Kroot, 201Kennedy, John F., 29Kessels, Erik, 301Kesselskramer, 301Kievit, Ilja, 312Kindgirls, 567King, Alan, 22, 12Kirwan, Ciaran, 262, 304, 678Kling, Jeff, 320Koeweiden Postma, 12, 183, 289Koopmans, Karin, 301, 456Kopkaas, Burito, 405, 490Koppedraayer, Suzanna, 312Kubrick, Stanley, 36, 42Kuin, Freek, 349

LLaman, Marion, 456Late Late Show, The, 2, 34, 346, 670Leegstra, Jochem, 49Leendertse, Pieter, 51Lee, Penny, 552Leeser, Rolf, 269Lee, Sid, 316Leeuw, Paul de, 212Leftfield, 134Lennon, John, 34, 29Letschert, Dorien, 214Lewis, Cliff, 456, 678Lewis, Daniel Day, 45, 58Lindbergh, Charles A., 12

Loewy, Raymond, 10Logo R.I.P., 420, 456–492Lohman, Niels Gerson, 214, 789Lois, George, 230, 289Luther, Martin, 569Lynott, Phil, 3

MMad Men, 563Maginn, Felix, 23, 90, 345–360, 601Mam, 01, 23, 167, 214, 267, 312, 389, 405-460Mandela, Nelson, 45, 58Mary, Virgin, 12Massive Attack, 39, 103MassiveMusic, 102, 345–351Match of the Day, 13Mazzo, 78, 92, 103McCartney, Paul, 102McDevitt, Elaine, 129McGrath, Paul, 456McKevitt, Paul, 490McQueen, Simon, 398McQueen, Steve, 108Melvin, Alex, 219Mendola, Chris, 345Middelkoop, Catelijne van, 345Midget, Hairy, 128Midget, Kinky, 129Mills, Mike, 230Milton, Giles, 201, 879Mitchell, George, 12, 16, 19Modern Toss, 678, 690, 701, 789Modo, Quasi, 154Mole, Adrian, 34Mondriaan, Piet, 145Monfeldt, Magnus, 89Monkey Dust, 213Moore, Jodi, 89, 456Morley, Paul, 102Muhammed, 23Mulder, Leendert, 165, 203

NNabben, Marloes, 301, 345, 568NCAD, 34, 56, 221Neeson, Liam, 20Nelson, Admiral Horatio, 91, 102Newton, Isaac, 102New York, 456–570Nijmeijer, Bert, 302Nob, 12Nolan, Christopher, 34, 213, 357Nolan, Peter, 23, 290, 389Noone, Father, 2Noordwijk, Krijn van, 753Norman, John, 69

45

OO’Connell, Daniel, 2O’Connor, Joseph, 59, 62O’Connor, Sinéad, 82O’Gaora, Ciarán, 3, 342, 389, 401O’Kennedy, Tim, 321O’Leary, Michael, 87Orwell, George, 22

PPaard, Het, 678Paddy, Uncle, 3, 9, 214Paradiso, 30Paris, 201Parnell, Charles Stewart, 8Parr, Martin, 218Pearse, Pádraig, 201Pentagram, 10Pesak, Lisa, 89Petersen, Elisabet Merle Petersen, 201Pet Shop Boys, 345–402Philips, Anton, 677Phillippart, Joris, 609Pink Floyd, 291Pleasuredome, Welcome to the, 256, 301Post-structuralism, 71, 107Powell, Kirsty, 45, 449, 697, 702Poynor, Rick, 810Primal Scream, 208Prummel, Astrid, 34, 789, 794Puts, Harry, 678Puttaert, Hugo, 432, 672Pyper, Martin, 452

RRabies, 231, 592Radiohead, 201Rambo I, 78Rambo II, 79Rambo III, 80Rand, Paul, 801Rankin, 201Raymond, Paul, 23Razak, Syed, 69Reagan, Ronald, 329Rijkers, Bastiaan, 12, 45, 687Rijn, Rembrandt van, 702Rijven, Martijn, 89Ritchie, Guy, 362Roche, Stephen, 39Roddy, Kevin, 235, 567Rome, 689Rooden, Peter de, 367Rosc, 56, 68, 103Roy of the Rovers, 25, 32Ruyter, Michiel de, 69

SSas, Harm, 34Saville, Peter, 12, 45, 506Schaeffer, Lode, 234, 412, 689Scheffers, Ines, 51, 65, 182Schilp, Erik, 301Schleger, Hans, 98Schollaardt, Annemieke, 332Schuyt, Saskia, 213Scorsese, Martin, 301Scott, Ridley, 689 Sensation, 302Sesame Street, 12Set Up, The, 322–402Sexy Beast, 389Shackleton, Ernest, 102, 987Shakespeare, William, 90Simpson, Bart, 35, 89Sloan, Mark, 237, 564Slobbe, Alexander van, 154Smash Hits, 22Smelt, Rob, 201, 456, 658Smith, Mandy, 302Smith, Paul, 149Soderbergh, Steven, 39SoundCircus, 560Spastic, 20Spieard, Chantal, 412Sree, Kash, 456–478Stafford, Jack, 210Steijn, Alwin van, 892Stein, Peggy, 34Stevenheydens, Ive, 567Stone, Adrienne, 22, 28, 34, 102, 452Stone, Flint, 21Stone, Irene, 22, 28, 34, 102, 452Stone, Oliver, 34Stone, Sam, 12, 39, 49, 88, 110–801Stone, Sharon, 109Storm, 320Streng, Marlene, 870Studio Dumbar, 34Swan, Michael, 22, 38, 102

TTallaght, 34–56, 78TED, 579Testicles, Three, 489Tiger, Celtic, 201Tijsen, Marjan, 602Tilli, Phil, 332Toet, André, 216Toscani, Oliviero, 392Toy Story, 78Trainspotting, 312Turner’s Printing, 57, 62

UU2, 309, 422UCI Cinemas, 218Underworld, 569Unkle, 23, 89

VValera, Éamon de, 45 Veerdonk, Kim van de, 561Verhoeven, Paul, 89Vlieg, Mary Ann de, 789Vorm Vijf, 385Vrienten, Henny, 679

WWade, Julian, 72, 198Walesa, Lech, 3Walsh, Louis, 569, 590Watson, Andrew, 392Wensveen, Sara, 453Wezel, Rudolf van, 348Whitehouse, Paul, 12, 18, 34, 101, 456–479Why, are you reading this?, 62Wieden & Kennedy, 37Wilde, Oscar, 3Willemsen, Anne-Johan, 82Willemsen, Paul, 567Winston, Robert, 92Woldring, Jose, 102Wonka, Willy, 35–67

XXanadu, 65Xanthoxylum, 106X, chromosome, 244Xerox, 42, 87, 145XX, the, 387XXXX, you, 54

YYeats, W.B., 38Yoke, Egg, 82York, Grand Old Duke, 34Youngblood, Sydney, 51, 627

ZZegers, Renate, 32, 119ZooTV, 90, 211ZTT, 342, 456, 489Zwetsloot, Olaf, 267

180, Amsterdam, 324-398

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The Stone Twins is a creative communication agency established by Declan and Garech Stone in 1999. The studio specialises in art-direction, creative copywriting and strategic graphic design. Over the years, The Stone Twins have built a reputation for concept-driven, witty and engaging solutions that work across the full breadth of the media landscape. Clients include: adidas, ASICS, BNO, Design Academy Eindhoven, IKEA, ING, Johnnie Walker, Levi’s, MassiveMusic, Nike, Sony, ToneelGroep Amsterdam and the Zeeuws Museum. The duo also serve as a freelance creative team, and have collaborated with AmsterdamWorldwide, EuroRSCG, Indie and Wieden + Kennedy in recent years. Since 2008, The Stone Twins are Head of the Department ‘Man and Communication’ at Design Academy Eindhoven. For more information, please visit: www.stonetwins.com – or contact us at: info@stonetwins.com