A discipline like graphic design requires interaction: someone to bounce ideas off, someone to both respect and abuse - a twin brother is perfect for this.

How are your design approaches and influences different/similar?

In general, our design approaches are similar. We are both fascinated by the combination of image and copy and generally feel equally at home with either.

Most of our design solutions start off with words, with copy: so consequently much of our work lends itself easily to campaigns or solutions with many applications. In the case of the Cannes Party stuff, the starting point of the 'design solution' was with the copy, which we totally wrote ourselves.

Our influences are practically the same since, being twins, we share the exact same background.

Do you tend to have your own seperate clients or would you both work together on a project?

We always work together initially, especially at concept stage - however once a project is in production we then delegate responsibility.

Where did the idea for the corporate design strategy for the Church come from?

There was a bright light in Declan's room one night and a strange voice... no seriously, we noticed how kids these days were worshiping the Swoosh and decided to combat this.

Do branding design 'guidelines' limit many creative solutions for big brands?

We wouldn't agree with the notion that design 'guidelines' limit creative solutions for big brands. I mean, just look at the branding of the Dutch Postal Service or mega-brand NIke. In both cases there is an initial ethic/code and a set of guidelines, but there is also freedom or different manifestations of these. Therefore you get vibrant, never dull, exciting applications. Good 'Corporate Identity programmes' are not about producing a 'book of rules', sometimes called a manual, no, good Corporate Identity programmes are about empowering the implementing-designer, the D.T.P-er, the delivery guy and the woman in the canteen.

What was your reaction to Naomi Klein's 'No Logo'?

We both read it before the hype (ironically her book is now another brand: her name a regular feature on the lecture-circuit) and felt it's achievement was in articulating what adbusters has been doing for years.

Her argument that Logo's, i.e brands, exploit and oppress is wrong. Brands do not rule consumers - consumers rule brands. Brands are held accountable where it really hurts: a consumer's pocket. Consumers are not as fickle as she makes out, otherwise we would still have a vibrant Aer Lingus and a scrapped Brent-Spar.

If nothing else the web seems to provide designers with a outlet for their more playful personal projects, do you think more designers should explore creative ideas through non-client based projects?

Yes, they not only fulfil creative desires but help stimulate creativity in other assignments.

do you think flash is overused/badly used?

We think designers now are finally getting over the pointless intro's and understanding the premise of a good site... which is its content.

What is your opinion of the new Euro note designs, and the immminent demise of the Dutch notes, which many held as the most well designed in Europe?

The design and idea (bridges as links to physical boundaries) of the new Euro are a bit lame. A more abstract notion like European integration through culture and arts (music, the visual arts, literature, etc...) would have been more interesting.

The immminent demise of the Dutch notes is not something to mourn. Money is designed to be spent and besides most transactions (in NL) are by direct-debit card (or PIN) anyway.

There seems to be a lot of creative design coming out of Scandanavian countries in the last few years, do you think the Dutch design ethic has rubbed off on them ?

Of course, there would be some influence, but there has always been an equally high level of design coming from Scandanavian (remember that fab ABBA logo). Directly-speaking: Studio Dumbar is responsible for the corporate-identity of the Danish Postal Service.

Small studios and freelance designers creating innovative work seem to be in abundance in both the Netherlands and scandanavian countries. Are designers less drawn to big studio's and corporate work?

No - some designers will always want to work for the bigger studios (Total, TEL and Dumbar), But here, there is probably a healthier climate and better infrastructure to start up your own studio.

Is it possible to sustain a design studio with these more creative projects?

Yes, in our case... fortunately, we have clients with a common vision and a fat wallet!

Is it mainly designs for arts bodies, theatres, galleries that proactively encourage innovative graphic design in the Netherlands?

No, since the 1920's the corporate sector (especially the PTT) has actively and consciously encouraged innovative work, from Piet Zwart to Studio Dumbar there is a consistent tradition of this.

Is Dutch poster design as innovative and creative as we have seen from the last 30 years or so?

Yes, see the work of Anthon Beeke.

Graphic design in the Netherlands seems to play a very vital role in everything from banknote design to information design and signage. Do you think this is something lacking back in Ireland and the kind of projects design firms are involved in?

Yes. In general, what is lacking in Ireland is an equivalant design/visual art tradition. Such a tradition, which goes back to Rembrandt, has instilled in BOTH the client and designer an acceptance/understanding in the power of good design. When this happens, there is a recognition that a new 'corporate-identity programme' doesn't start and end with a little logo and a pallete of colours (like many Irish programmes). What the Dutch have been very successful in doing over the years is in implementing and maintaining excellence in every application of a design programme.

How do you think things could be improved here. Does the govt. need to set up a design dept.? Does the Netherlands have such a body?

Nearly all of the major Dutch institutions (State and Commercial) have an internal design department. Although they do not necessarily produce the design work they oversee and administrate assignments, which means that one gets a uniform and quality consistent voice.

What is your view of the irish design scene from abroad?

Very positive, especially what's happening in web-design and the club/fashion scene. However there are too many 'Celtic Spirals' in Irish corporate identities!

Marketing and brand strategy seem to be the predominant force in irish graphic design at the moment, as opposed to a push for creativity. Do you think there is a balance to be struck between the two?

Yes, of course.. if one listens too much to Marketing's coded jargon one ends up with homogenized design i.e. Celtic Spirals.

Are the internal battles between the 'suits' and the 'creatives' as heated as in Ireland?

We wear suits and our clients are creative.

Are Dutch clients more willing to trust their designers with creative ideas? if so, why is this?

Yes, we think so. Tradition and a general exposure to design excellence - everything from the layout of fields, to the motorway break-down phone to the post-boxes is designed, which means that the demands/expectations/tolerance of the Dutch client is higher.

Is stock photography as relied upon by Dutch graphic designers as it appears to be in Ireland?

No. Designers here, in general, have a greater understanding of what a 'unique' image will give to a concept. They are more willing to create new imagery rather than the lazy, and often more expensive, option of buying stock.

Is illustration a popular option in the Netherlands? Are there many illustrators?

Illustration has in the last few years become more popular, 'fashionable' you could say, but in general photography is still the source of much imagery. This would be a major difference between Holland and Ireland. In Ireland there seems to be a hell of a lot of illustration... maybe it's the expressive/poetic traits of the irish as opposed to the rational nature of the Dutch.

What are the Dutch equivalents of the ICAD awards and other irish awards? Are they respected and much sought after?

The big dutch creative prizes are: the ADCN (Art-Directors Club of Nederland - unlike the British D&AD the emphasis is really on advertising); the 'HuisstijlPrijs' (Corp. identity-prize), and several individual competitions which celebrate the best annual-report, best-book and best theatre-poster. All of these are respected, but in recent years the internationally-celebrated advertising bureau KesselsKramer (from Amsterdam) has refused to entry the ADCN, therby questioning its virtue.

Who are your favorite visual/graphic designers?

Peter Saville, Alan Fletcher, Rem Koolhaas, Tony Hart, Dick Bruna, Robbie Keane.

What is your favorite design publication ?

We are still big fans of EYE and fight over Creative-Review when it comes through the letterbox; the D&AD newsletter, although very short on content, is always an inspiration. This month we would recommend one to buy ITEMS for a super 8 page feature on us guys.

Finally, what are your plans for the future?

Declan: To buy a pub in Sligo.
Garech: To retire and drink in a bar in Sligo.

Visit The Stone Twins website at:
www.stonetwins.com

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