Monday, 10 December 2012

Madeline 2

Full movie:

 Drew the headline and scanned it

Madeline 1

Ludwig Bemelmans was an essayist, humorist, novelist, artist and an author. He was born in the Austrian Tyrol and moved to the US in 1914. Never intending to be a writer, he was a restaurateur and artist before penning any books. In 1934, at the suggestion of children's book editor May Massee, Bemelmans wrote his first book, Hansi. Hansi. But it was Madeline that brought him his greatest success. From the time of his marriage to Madeline Freund in 1935 (Madeline was based on their only daughter) until his death in 1962, Bemelmans wrote approximately one or two books a year.

Tuesday, 27 November 2012

Saul Bass

Saul Bass (May 8, 1920 – April 25, 1996) was an American graphic designer and Academy Award-winning filmmaker, but he is best known for his design on animated motion picture title sequences.
Saul Bass designed the sixth AT&T Bell System logo. He also designed AT&T’s “globe” logo after the breakup of the Bell System. Bass also designed Continental Airlines’ 1968 “jetstream” logo which became the most recognized airline industry logo of the 1970s.

Alan Gerard Fletcher

Alan Gerard Fletcher (27 September 1931 – 21 September 2006) was a British graphic designer. In his obituary, he was described by The Daily Telegraph as “the most highly regarded graphic designer of his generation, and probably one of the most prolific”.
Much of his work is still in use: a logo for Reuters made up of 84 dots, which he created in 1965, was retired in 1992, but his 1989 “V&A” logo for Victoria and Albert Museum, and his “IoD” logo for the Institute of Directors remain in use

Neville Brody

Neville Brody (born 23 April 1957 in London) is an English graphic designertypographer and art director.[1]
Neville Brody is an alumnus of the London College of Printing and Hornsey College of Art, and is known for his work on The Face magazine (1981–1986) and Arena magazine (1987–1990), as well as for designing record covers for artists such as Cabaret Voltaire and Depeche Mode. He created the company Research Studios in 1994 and is a founding member of Fontworks. He is the new Head of the Communication Art & Design department at the Royal College of Art.
Neville Brody continues to work as a graphic designer and together with business partner Fwa Richards launched his own design practice, Research Studios, in London in 1994. Since then studios have been opened in Paris, Berlin and Barcelona. The company is best known for its ability to create new visual languages for a variety of applications ranging from publishing to film. It also creates innovative packaging and website design for clients such as Kenzo, corporate identity for clients such as Homechoice, and on-screen graphics for clients such as Paramount Studios, makers of the Mission Impossible films.

Milton Glaser

Milton Glaser (born June 26, 1929, in New York City) is an American graphic designer, best known for the I ♥ NYlogo,[1] his Bob Dylan poster, the DC bullet logo used by DC Comics from 1977 to 2005, and the Brooklyn Brewerylogo.[2] He also founded New York Magazine with Clay Felker in 1968.

Throughout his career he has had a major impact on contemporary illustration and design. His work has won numerous awards from Art Directors Clubs, the American Institute of Graphic Arts, the Society of Illustrators and the Type Directors Club. He is a member of Alliance Graphique International (AGI),[4] and in 1979 he was made Honorary Fellow of the Royal Society of Arts. Glaser has taught at both the School of Visual Arts and at Cooper Union in New York City.

Tuesday, 20 November 2012

Rian Hughes

Rian Hughes is a British graphic designer, illustrator and comics artist, noted for his work on 2000AD, where he illustrated Robo-HunterTales from Beyond Science,[1] Really and Truly and Dan Dare, among others. His work was highly distinctive, wearing its design influences on its sleeve, daring to be two-dimensional and bold in its use of large expanses of flat, bold colours. This stood out particularly during the early 1990s, when British comics were leaning ever more towards fully painted art. Unusually, Hughes preferred to be his own letterer, and designed several unusual fonts for this purpose.
Since leaving comics illustration, Hughes has become a successful advertising artist, graphic designer and font designer. He runs his own company, Device, with clients including Virgin AirwaysPenguin BooksDC Comics,Eurostar the BBC and a range of magazines and newspapers. Hughes prefers to design his own fonts for new projects usually giving them humorous and occasionally rude names. The font Knobcheese was marketed as "A typeface in the Swiss (cheese) tradition. With knobs on."

Sunday, 18 November 2012

rick poynor

Rick Poynor is a British writer on designgraphic designtypography, and visual culture. He began as a general visual arts journalist, working on Blueprintmagazine in London. After founding Eye magazine, [1] which he edited from 1990 to 1997, he focused increasingly on visual communication. He is writer-at-large and columnist of Eye, and a contributing editor and columnist of Print (magazine).
In 1999, Poynor was a co-ordinator of the First Things First 2000 manifesto initiated by Adbusters[2] In 2003, he co-founded Design Observer[3] a weblog for design writing and discussion, with William DrenttelJessica Helfand, and Michael Bierut. He wrote for the site until 2005. He was a visiting professor at the Royal College of Art, London from 1994 to 1999 and returned to the RCA in 2006 as a research fellow. He also taught at the Jan van Eyck Academy inMaastricht. In 2004, Poynor curated the exhibition, Communicate: Independent British Graphic Design since the Sixties, at the Barbican Art Gallery in London. The exhibition subsequently travelled to four venues in China and to Zurich.[4]
Poynor's writing encompasses both cultural criticism and design history, and his books break down into three categories. He wrote several monographs about significant British figures in the arts and design: Brian Eno (musician), Nigel Coates (architect)Vaughan Oliver (graphic designer), and Herbert Spencer (graphic designer). Other books document and analyse general movements in graphic design and typography. Among these are Typography Now, the first international survey of the digital typography of the late 1980s and early 1990s, and No More Rules, a critical study of graphic design and postmodernism. Poynor also published three essay collections, Design Without BoundariesObey the Giant, and Designing Pornotopia, which explore the cultural implications of visual communication, including advertising, photography, branding, graphic design, and retail design.
Poynor was a prominent interviewee in the 2007 documentary film Helvetica.

Saturday, 17 November 2012

Arab Women’s Art

A decade has passed since the first major touring exhibition of contemporary Arab women’s art took place in Britain, curated by Siumee Helen Keelan and accompanied by the publication entitled Contemporary Arab Women’s Art: Dialogues of the PresentFocusing predominately on work produced in the 1990s, it foregrounded the rich and diverse creative practices of five generations of Arab women artists working and living in the vastly different geographies of the Middle East, North Africa, and the diaspora of London.
In total, the exhibition included the work of 18 artists from Algeria, Iraq, Kuwait, Lebanon, Morocco, Palestine, Sudan, Syria, and the United Arab Emirates (UAE). 
All of the artists discussed here relocated to London between the late 1970s and the mid-1990s — some as the result of voluntary or involuntary exile and others for professional reasons. The three generations extend from the painter Laila Shawa (born in 1940 under the British Mandate in Gaza) who trained in Cairo and Rome and the artist and singer Houria Niati (born 1948 in French-occupied Algeria) who moved to London in 1977, to the younger artists Jananne Al-Ani (born 1966 in Iraq) and Zineb Sedira (born 1963 in Paris), who both trained in London in the 1990s.
For instance, Laila Shawa’s large-scale silkscreen prints Children of Peace and Children of War from the Walls of Gaza series, initiated in 1992, are powerful images that foreground the far-reaching effects of war on generations of Palestinian children. Using the media-generated visual language associated with American pop art, the repeated silk-screened image of the young boy on the gaudy colored surface presents an endless cycle of victim and aggressor. In the background are Shawa’s photographs taken over several years of the graffiti appearing on the walls of Gaza — a differently- positioned form of communication.

Fran lloyd

YBAs or Britart

An art movement that began in Great Britain in the 1990s. Initially called Young British Artists or YBAs, their work is now often called Britart (short for British Art). The YBAs are a group of British conceptual and installation artists who are known for their shocking, surprising, and controversial artworks. A well-known YBA artist is Damien Hirst.

Damien hirts

Damien Hirst was born in 1965 in Bristol and grew up in Leeds. In 1984 he moved to London, where he worked in construction before studying for a BA in Fine Art at Goldsmiths college from 1986 to 1989. He was awarded the Turner Prize in 1995.

'In and Out of Love (White Paintings and Live Butterflies' (1991) 

Monday, 22 October 2012

japanese graphics from the 1990s

some of the main designs 1990s

Flannel, long hair, grunge music, Seattle – the 1992 film “Singles” covered it all.


Rave flyer from 1995.


Google evolved quickly, cycling through three logos during 1998 and ’99.

In 1996, Stanford University computer science graduate students Larry Page and Sergey Brin built a search engine that would later become Google. That search engine was called BackRub, named for its ability to analyze "back links" to determine relevance of a particular website. Later, the two renamed their search engine Google, a play on the word Googol (meaning 1 followed by 100 zeros).
Two years later, Larry and Sergey went to Internet portals (who dominated the web back then) but couldn't get anyone interested in their technology. In 1998, they started Google, Inc. in a friend's garage, and the rest is history.
Google's first logo was created by Sergey Brin, after he taught himself to use the free graphic software GIMP. Later, an exclamation mark mimicking the Yahoo! logo was added. In 1999, Stanford's Consultant Art Professor Ruth Kedar designed the Google logo that the company uses today.

The first Apple logo was a complex picture of Isaac Newton sitting under an apple tree. The logo was inscribed: "Newton ... A Mind Forever Voyaging Through Strange Seas of Thought ... Alone." It was designed by Ronald Wayne, who along with Wozniak and Jobs, actually founded Apple Computer. In 1976, after only working for two weeks at Apple, Wayne relinquished his stock (10% of the company) for a one-time payment of $800 because he thought Apple was too risky! (Had he kept it, Wayne's stock would be worth billions!)
Jobs thought that the overly complex logo had something to do with the slow sales of the Apple I, so he commissioned Rob Janoff of the Regis McKenna Agency to design a new one. Janoff came up with the iconic rainbow-striped Apple logo used from 1976 to 1999.
Rumor has it that the bite on the Apple logo was a nod to Alan Turing, the father of modern computer science who committed suicide by eating a cyanide-laced apple. Janoff, however, said in an interview that though he was mindful of the "byte/bite" pun (Apple's slogan back then: "Byte into an Apple"), he designed the logo as such to "prevent the apple from looking like a cherry tomato." (Source)
In 1998, supposedly at the insistence of Jobs, who had just returned to the company, Apple replaced the rainbow logo ("the most expensive bloody logo ever designed" said Apple President Mike Scott) with a modern-looking, monochrome logo.


Poster by Keiji Itoh for “Life” exhibition in 1994

Sunday, 21 October 2012

Various Art styles in the 1990s

The development of computer graphics at the end of the 1980s and real time technologies then in the 1990s combined with the spreading of the Web and the Internet favored the emergence of new and various forms of interactivity art by Lynn Hershman LeesonDavid RokebyDon RitterPerry Hobermantelematic art by Roy Ascott; Internet art by Vuk ĆosićJodi; virtual and immersive art by Jeffrey ShawMaurice Benayounand large scale urban installation by Rafael Lozano-Hemmer.

Saturday, 20 October 2012


Random graphic designs



Neville Brody
Neville Brody became famous in the 1990's for his typographic design work on numerous British magazines, in particular The Face and Arena. Brody used newly invented desktop publishing tools to the fullest and continues to be influential as a type designer for both print and web.

David Carson
Like Neville Brody, typographer and graphic designer David Carson became influential in the late 1980's and 1990s for experimental typeface designs. David Carson's designs were featured heavily in surfing and skateboarding magazines.
A tribute to other self-taught designers, David Carson broke most of the rules of design and typography, a process that was made easy with the use of desk top publishing programs, such as Pagemaker, QuarkXpress and Illustrator. He experimented with overlapping and distorted fonts and intermixed these with striking photographic images.


Some of the most famous graphic designers 1990s

Paul Rand (August 15, 1914 – November 26, 1996) was an American graphic designer, best known for his corporate logo designs, including the logos for IBM, UPS, Westinghouse, ABC, and Steve Jobs’ NeXT. He was one of the originators of the Swiss Style of graphic design.
Although his logos may be interpreted as simplistic, Rand was quick to point out in A Designer’s Art that “ideas do not need to be esoteric to be original or exciting.” His American Broadcasting Company trademark, created in 1961, then used by ABC-TV in the fall of 1962, epitomizes that ideal of minimalism while proving Rand’s point that a logo “cannot survive unless it is designed with the utmost simplicity and restraint.
Walter Landor (9 July 1913 – 9 June 1995) born Walter Landauer was a brand design legend and the founder of Landor Associates. He is a pioneer in the field of branding and consumer research. Landor Associates, the company he founded in 1941, has brand consulting and design offices all over the world today.
Probably known mostly for designing the Fedex logo.

Tuesday, 16 October 2012

Photography studio

Camera technology

Ibn al-Haytham (Alhazen), the "father of optics" and pioneer of the modern scientific method, invented the camera obscura and pinhole camera.
In ancient times, Euclid and Ptolemy believed that the eyes emitted rays which enabled us to see. The first person to realise that rays of light enters the eye, rather than leaving it, was the 10th century Muslim mathematician, astronomer and physicist Ibn al-Haytham (Alhazen), who is regarded as the "father of optics".He is also credited with being the first man to shift physics from a philosophical activity to an experimental one, with his development of the scientific method. The word "camera" comes from the Arabic word qamara for a dark or private room.

Monday, 15 October 2012

Saturday, 13 October 2012

Grunge typography - David Carson

David Carson (born September 8, 1954) is an American graphic designer. He is best known for his innovative magazine design, and use of experimentaltypography. He was the art director for the magazine Ray Gun. Carson was perhaps the most influential graphic designer of the 1990s. In particular, his widely imitated aesthetic defined the so-called "grunge typography" era.
A stint at How magazine (a trade magazine aimed at designers) followed, and soon Carson was hired by publisher Marvin Scott Jarrett to design Ray Gun, a magazine of international standards which had music and lifestyle as its subject. Not afraid to break convention, in one issue he used Dingbat as the font for what he considered a rather dull interview with Bryan Ferry.[3] (However, the whole text was published in a legible font at the back of the same issue of RayGun, complete with a repeat of the asterisk motif). Ray Gun made Carson very well known and attracted new admirers to his work. In this period, publications such as the New York Times (May 1994) and Newsweek (1996) featured Carson and increased his publicity greatly. In 1995, Carson founded his own studio, David Carson Design, in New York City, and started to attract major clients from all over the United States. During the next three years (1995–1998), Carson was doing work for Pepsi ColaRay Ban (orbs project), NikeMicrosoftBudweiserGiorgio ArmaniNBCAmerican Airlines and Levi Strauss Jeans, and later worked for a variety of new clients, includingAT&TBritish AirwaysKodakLycraPackard BellSonySuzukiToyotaWarner Bros.CNN, Cuervo Gold, Johnson AIDS FoundationMTV Global, PrincoLotus SoftwareFox TVNissanquiksilver,IntelMercedes-BenzMGM Studios and Nine Inch Nails. He, along with Tina Meyers, designed the "crowfiti" typeface used in the film The Crow: City of Angels. He named and designed the first issue of the adventure lifestyle magazine Blue, in 1997. David designed the first issue and the first three covers, after which his assistant Christa Smith art directed and designed the magazine until its demise. Carson's cover design for the first issue was selected as one of the "top 40 magazine covers of all time" by the American Society of Magazine Editors.

Type design was messy, words were splayed and chaotic, letters blurred. Textures were thick and heavy. Concert posters looked like someone had splattered paint on paper and then scratched out band names. You may have noticed it, you may not have, but at its peak, this typography style, called grunge, was ubiquitous. Alternative music cds, videogames, and zines—all the aggregate products of a wayward generation—appropriated its unfinished and frenzied aesthetic, and it became the largest, most cohesive movement in recent font design history.

David Carson, the acclaimed graphic designer who created Ray Gun magazine, is the so-called Godfather of Grunge. His method was simple, his gospel twofold: you don’t have to know the rules before breaking them, and never mistake legibility for communication. Carson’s technique of ripping, shredding, and remaking letters touched a nerve. His covers for Ray Gun were bold and often disorienting.

From the viewer’s perspective, the appeal of grunge was based on a basic idea: it had not been seen before. It wasn’t just the experimental design of the letters, but the way they were placed on page. Its bedlam, its body language, resonated with the culture at large. This resonance produced a vital change in typographic method: in a field that was for decades dictated by the principle of neutrality—of meaning being implicit in the text rather than the typeface—fonts were succumbing to association with the genres or ideas with which they were paired. (silent hill cover)