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Dutch style resulted from the influence of early modernist works by Dutch designer Piet Zwart. Here is one of his page designs from the book ‘Trio’ 1931.
Series of book covers from 1931 by Piet Zwart.
The Dutch pride them selves on their individuality and free expression. This creates a social climate that encourages innovation. A strong impetus towards functional design began in January 1963. A group including Wim Crouwel, product designer Frisco Kramer and graphic & architectural designer Benno Wissing joined forces in Amsterdam to form a large, multidisciplinary design firm called Total Design (TD). Before TD the Netherlands outsourced large scale work to designers in other countries. (Above left) Wim Crouwel, postage stamps for PTT, 1976. Absolute simplicity gains expression through colour gradation. (Above right) Total Design (TD) trademarks for visual identity projects.
TD became an important training ground for young designers, who gained experience then left to launch new firms. (Above left) Wim Crouwel, poster for Amsterdam’s Stedelijk Musuem design exhibition, 1966. The matrix governing the design of the poster and lettering is revealed as a design element. (Above right) Benno Wissing, poster for exhibition, 1961. A dynamic image is created with simple forms and overlapping primary colours contrasting with the texture of the photograph.
Each Dutch government agency has a visual-identity program, called a house style in the Netherlands, and consciously tries to communicate effectively with citizens. For example, postage stamps and currency achieved distinction in design. The Netherlands Postal and Telecommunications Service (PTT) emphasized importance of design as early as 1919. After the war the PTT established its Aesthetic Design Department. (Above left) Pieter Brattinga, poster for exhibition ‘The Man Behind The Design For the Dutch Post Service PTT’, 1960. (Above right) Wild Plakken, postage stamps for the PTT, 1985-1995. Colour, type and image are orchestrated into dynamic stamps.
The influence of Wim Crouwel was re-awakened very recently as a result of a major exhibition at the Design Museum (London)
Design Museum exhibition
Studio Dumbar was founded in the Netherlands by Gert Dumbar in 1977. It has earned an international reputation for work in the field of graphic design, branding and visual communication, and has won over 65 international design prizes. (Above left) Studio Dumbar, corporate identity system, 1989. Architectural identification, vehicles and signage were produced from guidelines in this identity manual.
Dumbar values the role of humour and impulse in design and believes an element of fun and play should permeate visual communications wherever possible. (Above) Studio Dumbar, poster for Holland Dance Festival, 1995. In this poster series graphic forms reflect the dancers movement.
(Above) TNT Stamps designed at Studio Dumbar.
In 1964 a young Wolfgang Weingart, who had already completed a 3 year apprenticeship in typography and studied art, arrived in Basel from southeastern Germany to study with Emil Ruder. Weingart was most influential as a teacher and a design philosopher. He began teaching at the Basel School of Design, where he was appointed an instructor of typography by Armin Hofman in 1963.
When Weingart began to teach others, however, he taught type differently from his mentors. He questioned the typography of absolute order and cleanness. (Above left) Typographic Process, Nr 4. Typographic Signs, Wolfgang Weingart,1971-1972. (Above right) Wolfgang Weingart, Exhibition poster, 1977. A kaleidoscope of shifting images and form.
By the mid 1970’s Weingart set off in a new direction when he used the printer’s camera to alter images and explored the unique properties of the film image. He began to move away from purely typographical design. (Above left) Wolfgang Weingart, Didacta Eurodidac, 1980-81. (Above right) Wolfgang Weingart, Das Schweizer Plakat, 1984.
He taught a new approach to typography that influenced the development of New Wave, Deconstruction and much of graphic design in the 1990s. The style of typography that came from his students led to a new generation of designers that approached most design in an entirely different manner than traditional Swiss typography. (Above) Exhibition poster 1982. Modulated patterns of overlapping coloured dots warp and adapt the space.
Born in 1948, April is recognized as one of the first designers to totally embrace computer technology as a creative tool – starting in 1984 when she bought a first generation Mac. She is also given recognition for introducing the ‘New Wave’ aesthetic to the US.
Her work evolved from her graduate work in Basel, Switzerland. A student of Armin Hofmann and Wolfgang Weingart in the early 70s. (Above) Snow White + the Seven Pixels, An Evening with April Greiman, 1986. (Below) Posters.
She is a recipient of the American Institute of Graphic Arts Gold Medal for lifetime achievement. She has worked for Esprit, Benetton and Design Quarterly. The Design Quarterly work was very ground breaking at the time – it unfolded accordion-style into a single page that measured 6ft by 2 ft. (Above left) The Modern Poster, The Museum of Modern Art, New York, 1988. (Above right) U.S. postage stamp commemorating the Nineteenth Amendment.
(Above) “Does It Make Sense?” Greiman's Design Quarterly #133, 1986. This poster composed of digitized images was output by a low-resolution printer.
Having pioneered a computerized blend of photography, airbrushing and typesetting – she continues to push to the edge of computer technology. She is still regarded as one of the most experimental designers today. (Above) “does it make sense? take two...” collaboration: b+u architects / roto architects, visual arts museum, school of visual arts, nyc 2008
As a young designer with a passion for independent rock music, Vaughan Oliver collaborated with Ivo Watts-Russell, founder of the 4AD Records label. Oliver created a remarkable range of album covers and promotional print.
He had high standards, bold exploration and the imaginative use of found imagery.
Has produced design for clients such as Microsoft, Sony, BBC, JP Morgan, V& A Museum, Harrods, Virgin, etc.
Roger Law (1941) is a caricaturist and one half of Luck and Flaw (with Peter Fluck) creators of the satirical TV puppet show Spitting Image. An illustrator and cartoonist for The Observer from 1962-5, and The Sunday Times from 1965-7 and 1971-5. After Spitting Image finished in 1996, he was Artist in residence at the National Art School in Sydney, Australia, but subsequently moved to Jingdezhen, China where he makes large porcelain vessels .
A feature documentary by Michael Coulson, called Still Spitting, is currently in production and is due for release in 2014.
Martin Lambie-Nairn (1945) is one of the most influential British graphic designers. Founder of branding agency Lambie-Nairn & Company he is now creative director of ML-N. He mainly concentrates on brand identity for television- redefining television brand identity design, merging the graphical qualities typical of printed communication, with the range of possibilities offered by the media of television.
His philosophy of making complicated things simple, remains a core part of his career, as does balancing commercial imperatives with creativity. Best works are the original early 80s Channel 4 logo and idents; the ground-breaking batch of 30+ idents for BBC Two that first aired 1991; and the 1997 corporate BBC re-brand BBC.
Published between 1984 and 2005 it is the ultimate graphic design magazine. Art directed by Dutch born Rudy Vanderlans using fonts designed by his wife Czech born Zuzano Licko – it was one of the first publications to use Mac computers and had a huge influence in the early 90s. (Above) Emigre issue 11 is entirely devoted to the initial response by the world of graphic design to the introduction of the Macintosh computer. Featuring interviews with graphic designers from around the world. Inspired by Warren Lehrer's book French Fries, in which the designer used a different typeface for each character in the book, designer VanderLans, too, assigned a different typeface to each interview. The page numbers were designed by the graduate students at California Institute of Arts, Valencia.
Its variety of layouts, use of guest designers and opinionated articles also had an effect on subsequent design publications. (Above) Issue 13, For this issue, designers from around the world update their national symbols. Featuring work by Wolfgang Weingart, Neville Brody, Jeffery Keedy and many others.
(Above) Emigre 18 further explores the unknown possibilities of type as an expressive/communicative medium. This issue features a 16-page typographic experiment by Paris-based designer Pierre di Sciullo. Also included in this issue is Beowolf, the first typeface generated with "Random Technology.”
(Above) Issue 37 is about collaboration, writing, intellectual property, poetry, authorship, self-publishing, reading and everything else that design is made of, but this time we look at it from the perspective of a group of artists that includes two writers, one graphic designer and one visual artist. The entire issue is typeset in Zuzana Licko's text fonts Base-12 and Base-9 and is presented in a surprising new format
Émigré issue 69 was the last in 2005, by then a shadow of its former radical self after publishing Emigre magazine for over 21 years. This milestone issue featured a behind-the-scenes look at the history of Emigre magazine.
Best known for his innovative magazine design and use of experimental typography. He is almost universally acknowledged as certainly one of the most influential graphic designers of the 1990s. His much imitated aesthetic defined the so-called Grunge era. (Above) Hanging At Carmine Street, Beach Culture, 1991. Responding to the title of an editorial feature on a public swimming pool, Carson was inspired to “hang some type”. (Below) “Is techno Dead”, Ray Gun, 1994.
Born in 1956 in Corpus Christi, Texas he grew up in NY. IN 1980 he undertook a 2 week course in graphics at the University of Arizona but it was later in 1983 when working towards a degree in Sociology he took a trip to Switzerland where he attended a 3 week graphic design workshop as part of his degree. (Above) “Morrisey: The Lonliest Monk”, Ray Gun, 1994. The unusual photographic cropping and deconstructed headline convey the musician’s romanticism and mystery.
It was here that he met teacher Hans-Rudolph Lutz, his first great influence. He worked as a teacher in 1982-87 at a high school in San Diego and started to experiment with graphic design. He was also a professional surfer (in 1989 he was the 9th best in the world!)
He directed a surf magazine called ‘Beach Culture’ which lasted only 3 years but it made a big impact on the design world and from 1991-92 he worked at Surfer magazine. After a stunt on How magazine for designers he launched Raygun which had music and lifestyle as its subject.
The magazine made him famous – appearing in the New York Times and Newsweek (1996) – in 1995 he formed his own studios in NYC – attracting major clients Pepsi, Ray Ban, Nike, Microsoft, Budweiser, Armani during 1995-98. From 98 he went international.
In 2000 Carson opened a personal studio in Charleston, South Carolina (and settled down). He became Creative Director of Gibbes Museum of Art and designed a special edition of surfer entitled ‘Exploration’. He has written/designed four seminal (to strongly influence later work) design books and won over 10 awards to date.
Anton Johannes Gerrit Corbijn van Willenswaard (1955) is a Dutch photographer, video and film director. He is the creative director behind the visual output of Depeche Mode and U2 having handled the principal promotion and sleeve photography for both bands for almost 3 decades. Image shown of Depeche Mode.
Some of his works include music videos for Depeche Mode's "Enjoy the Silence" U2's "One" (1991), Bryan Adams' "Do I Have to Say the Words? and Nirvana's "Heart-Shaped Box" (1993), as well as the Ian Curtis biopic Control (2007), George Clooney's The American (2010), and A Most Wanted Man (2013) Image shown Bono taken on a U2 tour of the USA.
Rolling Stones series.
David Bowie for ‘The Elephant Man’ promo, and Tom Waits.
‘Control’ trailer. Corbin’s first full length feature film on the story of Joy Division clearly shows that his visual style translated well from photography to film
Cynthia "Cindy" Morris Sherman (1954) is an American photographer and film director, best known for her conceptual portraits. Through a number of different series of works, Sherman has sought to raise challenging and important questions about the role and representation of women in society, the media and the nature of the creation of art. Her photographs include some of the most expensive photographs ever sold. Sherman lives and works in New York.
In her series Untitled Film Stills, 1977–1980, consisting of 69 black-and-white photographs the artist poses in different roles and settings producing a result reminiscent of stills typical of American film noir of the 1940s, 1950s and 1960s
During the 1980s Sherman began to use colour film, to exhibit very large prints, and to concentrate more on lighting and facial expression. Centerfolds/Horizontals, 1981, are inspired by the center spreads in fashion and pornographic magazines. The twelve photographs were initially commissioned by Artforum magazine Close-cropped and close up, they portray young women in various roles, from a sultry seductress to a frightened, vulnerable victim who might have just been raped
When setting up her photographs, Cindy famously shoots alone in her studio, assuming multiple roles as author, director, make-up artist, hairstylist, wardrobe mistress—and, of course, model.
Under the title History Portraits Sherman photographed herself in costumes flanked with props and prosthetics portraying famous artistic figures of the past
Diane Arbus (1923 –1971) was an American photographer and writer noted for black-and-white square photographs of "deviant and marginal or of people whose normality seems ugly or surreal". A friend said that Arbus said that she was "afraid that she would be known simply as 'the photographer of freaks'"; however, that phrase has been used repeatedly to describe her. Above These twins were the inspiration behind the inclusion of them as scary apparitions in Stanley Kubrick’s film “The Shining”
In 1972, a year after she committed suicide, Arbus became the first American photographer to have photographs displayed at the Venice Biennale. In 2006, the motion picture Fur, starring Nicole Kidman as Arbus, presented a fictional version of her life story
Child with a grenade
Diane Arbus in her studio with the ‘doppelganger twins’
Born in London in 1957 no other British designer is so renowned than Neville Brody. He studied at the LCP, designed the Face magazine 1981-86 and Arena 1987-1990 as well as designing record covers for artists such as Caberet Voltaire & Nine Inch Nails.
Born in London in 1957 no other British designer is so renowned than Neville Brody. He designed the Face magazine 1981-86 and Arena 1987-1990 as well as designing record covers for artists such as Caberet Voltaire & Nine Inch Nails.
One of the founding members of Font Font (now Fontshop) and designed a number of notable typefaces for them. Also partly responsible for the FUSE project – an influential fusion between a magazine, graphics and typographic design. Each Fuse pack contained a publication with 4 new fonts & 4 posters using the fonts.
Influenced initially by Russian constructivism and particularly Rodchenko he continues to work as a graphic designer with his own design practise called Research Studios – with studios in London, Paris and Berlin.
He has designed many ground-breaking fonts, including FF Blur, Pop, Tokyo, Dome, Dirty Faces, Arcadia, Industria and Insignia.
With single subject books on him and a V&A exhibition of his work by the time he was 40 years old – Brody still works hard to maintain his pole position as a creative force.
His works easily evolved to multi-media through Research Studios – web to print, environmental and retail graphics to moving graphics and film titles. A sister company, Research Publishing produces experimental multi media works by young artists.
According to Jonathan Barnbrook: “Design is both a political and cultural force for change, although most designers choose not to think about the power it has.” (Above) Tomorrow’s Truth: Globanalization: - Corporate Fascist, political message, 2001.
Font designer, graphic designer and art director in eco-friendly advertising. Fonts designed include Exocet, Mason and Priori. (Above left) Barnbrook Bible bookcover. (Above right) Tomorrow’s Truth: collateral Damage – Violence Is A Cycle”, political message, 2004. This design highlights the Israel/Palestine conflict brilliantly through the circular notion in the design as the conflict between Jews and Muslims has been going on for around 100 years and therefore seems never ending.
His company Virus released fonts such as Bastard and Prozac and has recently worked with Damien Hirst on the book called ‘I want to spend the rest of my life everywhere with everyone, one to one, always, forever, now.’ He is also well known for his typography NowTwo book. (Above left) Barnbrook has designed a limited edition screen print to promote the launch of a new book about typography – Just My Type by Simon Garfield. (Above right) Rosama McLaden, politcial message, 2003.
One of the founding members of Font Font (now Fontshop) and designed a number of notable typefaces for them. Also partly responsible for the FUSE project – an influential fusion between a magazine, graphics and typographic design. Each Fuse pack contained a publication with 4 new fonts & 4 posters using the fonts. (Above left) David Bowie’s Heathen album (Above right) U.S. Rael, political message, 2002. This image relates to the Israeli connection. Simple and effective, this rare non-typographically based piece of Barnbrook design hits the spot in communicating how America always have to butt into other peoples conflicts.
Phil Baines. After studying to be a Catholic priest for three years in Durham, turned to graphic design and graduated from St. Martin’s School of Art in 1985 and the Royal College of Art in 1987. Freelance graphic designer since 1987 undertaking anything from humble print work for small publishers and arts organisations to typographic sequences for TV commercials. Work characterised by careful use of typographic structure, sometimes organic, sometimes highly ‘engineered’. (Above) limited edition "yak" poster by Phil Baines. Personal work on the theme of influence: "boy's own", 1993.
Since 1995 he has been assisted by part time ex-students enabling larger commissions for Phaidon Press’s Art & Idea series (7 titles in 2 years). He frequently writes for Eye magazine and in 91 became senior lecturer at Central St Martins – curating the Central Lettering Record with Catherine Dixon. (Above left) limited edition of Nick Caves “And the Ass Saw the Angel” designed by Baines. (Above right) FF You Can Read Me typeface, 1995.
He is a solid contributor to Fuse Conferences and continues to experiment with media and lettering. (Above) Typography Now: The Next Wave - a few examples of Phil’s work from that book.
In the early 1990s Why Not Associates daring visual style earned them a leading position among UK designers. They changed the approach of retail catalogues with the Next catalogue then and are still wowing the design world with new projects. Clients include the BBC (Life On Mars series), Nike, London College Of Fashion, Envy, Tate Modern and Motorola. The ‘Englishness’ of their approach is noted and their experimentation of their choice of materials in public art projects with artists such as Gordon Young had a big impact on communities. (Above bottom left) ‘why not ?2’ the latest monograph features a selection of work from over the years, including interviews with the designers and quotes from many of their clients, 2004. (Above right) Cursing Stone Of Carlisle, collaboration with artist Gordon Young. 7.5 ton granite boulder situated in Carlisle, England. inscribed with a curse issued by the Arch-bishop of Glasgow in 1525. The pavement features the names of the families on whom the curse was directed.
300 metre long typographic ‘A flock of words’ pavement in Morecambe, with similar installations in Plymouth, Yorkshire, London and Carlisle. The quality of their work is consistent and undeniably challenging.
NB Studio. London based , multi disciplinary graphic design consultancy founded in 1997. Later work includes a collaborative project with St Luke’s ad agency and fashion photographer Stefano Azario for Mothercare’s Xmas campaign in 2006. (Above) Tate Britain 2003.
Buro Destruct. Based in Bern, Switzerland this cutting edge collective design fonts, deconstruct design and experiment with creative technologies to the edge.
Attik. Thanks to Attik towns that are outside London (in this case Huddersfield) are seen as hotspots of graphic design. Along with Tomato and the Designers Republic, Attik are recognized as graphic design superstars – attracting clients like Nike and Toyota.
Designers Republic are the super club of design. Sheffield based, their clients include Pulp, Supergrass, Gatecrasher, Warp and have in recent years had their work exhibited globally – including the Brain Aided Design Expo. Founded in 1986 by Ian Anderson as a ‘declaration of independence’ from what we perceive to be the existing design community and remain so even if they have taken on commissions from global corporations like Coca Cola.
Their influence can be felt particularly in web design and in cover design in the electronic scene. They work in a diverse range of media – even designing ‘apparel’ and street logos.
Me Company was founded in 1985 in London. Specializing in high-impact imagery, brand development and advertising for a wide range of clients.
Irma Boom. Born in the Netherlands in 1960 she was won international acclaim for her work – particularly book design. Irma worked for 5 years as a Dutch Government designer. Opening the Irma Boom Office in 1991 she has designed scores of books as well as teaching at Yale and at the Van Eyck Academy in Maastricht.
SHV book, 1996, Irma Boom. Many of the most beautiful books to have been designed in recent years are the work of IRMA BOOM.
Born in Budapest, Hungary in 1949 Kalman emigrated to the US when he was 7 years old. From 1967-70 he studied Journalism at New York University where he worked on the Uni newspaper and joined the radical ‘Students for Democracy’ group. In 1968 he worked for Barnes & Noble Bookstore – completing window displays, signs and adverts before starting up his own design company M&Co – clients included Formica, Subaru, MTV, David Byrne/Talking Heads and MOMA. He was Art Director for Art Forum 1989-91. (Above) Issues of ArtForum directed by Kalman
In Autumn 1990 he was appointed Editor-In-Chief of a controversial new Benetton magazine, Colors – he produced 5 issues in NY before closing M&Co in 1993 and moved to Rome where he edited 8 more issues. He quit Colors in 1995 and returned to NY to consider new directions. He died in 1999 of cancer. (Above left) Issue 13 No Words. (Above right) Paperweight. 1984.
(Above left & right) Issue 4 Race, Issue 7 AIDS.
Tibor once said “Good designers make trouble“. (Above right) Kalman, with this umbrella, further illustrates his undying optimism and sense of humor.
(Above) Black Queen Elizabeth, Tibor Kalman for Colors Magazine Issue #4 (1993)
(Above) Tibor + Book
Oliviero Toscani (1942) is an Italian photographer, In the early 1990s, he co-founded the magazine Colors (owned by Benetton) with American graphic designer Tibor Kalman.
With the tagline "a magazine about the rest of the world", Colors built on the multiculturalism prevalent at that time and in Benetton's ad campaigns, while remaining editorially independent from Benetton.
Best-known for his Benetton ads 1982 -2000, most of which were always composed of controversial photography, usually with only the company logo "United Colors of Benetton" as caption.
He is currently creating a new research facility for modern communication called 'La Sterpia' with La Regione Toscana.
While she has studied at design at the Parsons School of Design, Syracuse University and the School of Visual Arts and spent 12 years working as a magazine designer for Condé Nast, Barbara Kruger bridges the gap between fine art and design in her personal work. Her time spent as a designer and art director for magazines like Mademoiselle, House and Garden, and Aperture certainly influenced her signature style of combining found magazine imagery with simple, to the point typography. (Above) Your body is a battleground – 1989.
Setting much of her text in Futura Bold Oblique and with topics like consumerism, feminism and classicism it is hard to not have some kind of reaction to the stark statements of her work.
She has been a pioneer of guerrilla art, producing some of her original works on shopping bags, t-shirts, bus benches and billboards. She has had exhibitions in many galleries around the world and currently resides and works in both Los Angeles and New York. (Above left) Your Gaze Hits the Side of My Face – 1981. (Above right) Face It (Cyan) – 2007.
Jenny Holzer's posters and electronic LED signs accost the passerby in the street: glancing up in Times Square, New York, or Piccadilly Circus, London, to read that `Abuse of power comes as no surprise' brings us up short. Taken by surprise, we allow her quirky Truisms and the quizzically emphatic Inflammatory essays under our guard. (Above left) Jenny Holzer Selection from The Living Series, 1981. (Above right) Jenny Holzer Truisms Projection Art 02
Holzer and Kruger use the techniques of mass communication and advertising to explore gender and identity. Jenny Holzer's LED signs and Barbara Kruger's billboards look as though they might be selling life insurance, lipstick or the latest model car.
Vancouver based anti-consumerist magazine Adbusters. Famous for their spoof ads. (Above) Joe Chemo, 1996.
Adbusters also launched numerous international social marketing campaigns including “Buy nothing day” and “TV turnoff week”. (Above top) Barcode Escape. (Above bottom) Homo Shopus: The final stage in our evolution.
The false demand created for commercial products is believed to get in the way of having a healthy mental state, and living a meaningful life. A common theme is the defining relationship between the advance of technology and unhappiness.
(Above) Calvin Klein: Fresh Young Chicken, Extra Lean, 7% Body Fat, Great Legs, Nice Breasts. (By Tibor Kalman)
Fashion Slashin – Obsession For Men.
(Above) Tommy Hilfinger: Follow the Herd.
Robert Mapplethorpe (1946 New York City 1989 ) was an American photographer, known for his large-scale, highly stylized black and white photography. His work featured an array of subjects, including celebrity portraits, male and female nudes, and stills of flowers. His most controversial work is that of the underground BDSM scene in the late 1960s and early 1970s of New York. The homoeroticism of this work fuelled a national debate over the public funding of controversial artworks.
He had a long term relationship with singer Patti Smith- which changed from romantic to friendship on his ‘coming out’ . They continued to live together in New York. Image above of Patti for her ‘Horses’ album sleeve by Mappelthorpe
Patti Smith in their New York apartment.
His semi (and sometimes fully) erotic images of black men stirred much controversy.
Unlike his floral series….
or his celebrities series. Here is his renowned portrait of artist Andy Warhol.
Anna-Lou "Annie" Leibovitz (1949) is an American portrait photographer. She has had a varied career through her early associations with Rolling Stone Magazine, life partner Susan Sontag, John Lennon and Yoko Ono, Disney and even as tour photographer with the Rolling Stones.
Rolling Stones Tour
Rolling Stones Tour
One of her most famous works Rolling Stone magazine cover shots of John and Yoko Ono in 1980
Was re-shot in the nineties featuring his son Julian Lennon and his Yoko lookalike-girlfriend.
Her controversial shoot with very pregnant Demi Moore for Vanity Fair in 1991. The first time a naked, pregnant woman had been featured on any public media.
She created a series of ‘brand images’ for Disney.
She created a series of ‘brand images’ for Disney.
And regularly contributes to Vogue
Mario Testino (1954) is a Peruvian fashion photographer. His work has been featured in magazines such as Vogue and Vanity Fair. His career highpoint came when he was chosen by Diana, Princess of Wales, for her Vanity Fair photoshoot in 1997. Testino has been regularly employed by the British royal family ever since
Aaron Hicklin of The Observer described him as "the world's most prolific magazine and fashion trade photographer". His persistence in shooting Gisele Bündchen is widely credited with elevating her to supermodel status
Born in England, raised in Canada Vince joined Pentagram, London in 1989 - by 1992 he was their youngest associate at the age of only 27. In 1994 he started his own studio Frost Design creating award winning work for clients from The Independent to Nike.
In 2003 he re-located to Sydney where he now runs his 25+ creative studios – with a client list to die for, including D&AD, Warner Music, Sydney Opera House. His work is documented in a 500 page book Frost*.
He was won many awards – winning 3 awards from the Society of Environmental Graphic Design in 2006.
Peter Saville is an English art director and graphic designer. During the 1980s, he designed many record sleeves for Factory Records.
He created iconic album covers for bands including Joy Division, New Order, Suede and Roxy Music. (Above right) Factory Poster/Fac 1, 1978.
By the early 1980s he turned his reference to classical art history – using flower painting with print symbolism. In early 1990s he continually looked for new challenges and diversified with advertising work for fashion house Yamamoto. (Above left) Blue Monday single for New Order, 1983 (Above right) Power Corruption and Lies album for New Order, 1983 Original painting by Henri Fantin-Latour.
Saville’s own company and Factory Records were both in financial crisis in the early 90s – with Peter accepting an offer to join Allan Fletcher’s Pentagram but quickly became. In 1992 he moved to LA to work for Ad Agency Frankfurt Balkind.
A year later, disillusioned again he left the US and ‘squatted’ at a desk in the studio of the Tomato Design Collective. He was sought out by a new generation of artists – Pulp, Suede, John Galliano @Christian Dior and he felt he was ‘back on track’. By 1999 he was working on both highly commercial projects (for Selfridges, EMI, Givenchy & Stella McCartney) and developing his own projects including recycling.
(Above) Waste Painting no. 11 En Suite, 2003, in collaboration with Howard Wakefield.
(Above) Project: Suite For Adobe, special edition marketing poster, 2003.
Art & Design Context Lecture 4
Art & Design Context
Design In The Netherlands:
Wim Crouwel + Gert Dumbar