Tuesday, 22 May 2012


1. What skills have you developed through this module and how effectively do you think you have applied them?I feel this is probably the module I have learnt the most in.  I now have a wide range of knowledge on graphic designers that I never had before.  I've learnt about movements and topics in seminars and lectures that I knew very little about before now.  I feel my knowledge in terms of theory and graphic design has improved drastically and can know talk confidently about some of the things that I have learnt this year.    I think this module has enabled me to become more consistent on Blogger, having to do blog tasks weekly about designers/visual communication/ aesthetics.  I also think I can reflect on myself as a designer better after having done this module, I have a clearer understanding of what I find aesthetically pleasing, what designers I like and historical contexts of art movements such as Bauhaus.  I also think, to some extent, I have researched content and turned it into something visual with the publication.  Another skill I feel I have developed slightly further is presentation skills after having to pitch your idea to half the class.
2. What approaches to/ methods of design production have you developed and how have they informed your design development process?I have developed skills such as researching and developing ideas, turning these ideas into visual designs.  In this module we have learnt new techniques about critiquing with Jo.  I feel like I now have a better understanding of what a publication is and have made a basic one myself.  I feel generally this module has been strong in helping gain lots of knowledge about Graphic Design.3. What strengths can you identify in your work and how have/will you capitalise on these?I think this module has allowed me to blog quite successfully, I managed to keep on top of most of the blogging tasks, I enjoyed evaluating things about what I like and designers etc.  I think you can see a clear improvement on the theoretical side of learning and practice just because of the amount of things I've learnt throughout this module.  I think because of the publication brief my layout skills have improved and I have more of an idea about colour and composition in relation to that.

4. What weaknesses can you identify in your work and how will you address these in the future?I feel like there are quite a few things to reflect on in terms of what I could do better next time.  Something thats happened quite a few times that really effects my end work product is the time I take to come up with an idea or how many times I change the idea, this just gives me less time to focus on the design aspect. I felt like this happened in the publication brief.  It took me a while to come up with a concept and when I did I changed it several times because I was unsure about it.  Although this is good for development work and broadens my knowledge due to the amount of research I do it does make it harder to come up with a final design that I'm completely happy with.  I feel like my final publication could of been a lot better if I gave myself more time to focus on the designing.  Time management is a massive weakness of mine, especially during the end of this module when we had to juggle two other modules with it. I need to know what to prioritise first and how to use my time effectively this is why both my publication and my essay were not as good as they should of been.
5. Identify 5 things that you will do differently next time and what do you expect to gain from doing these?
-Give myself enough time to develop in terms of designing
-Do not leave printing till the last minute-be prepared and book in advance

-use the crits to help me
-underestimate how much time tasks will take
-do work set and extra

6. How would you grade yourself on the following areas:
Attendance: 3
Punctuality: 4
Motivation: 4
Commitment: 3
Quantity of work produced: 3
Quality of work produced: 3
Contribution to the group: 4


'Advertising doesn't sell things; all advertising does is change the way people think or feel' (Jeremy Bullmore).  Evaluate this statement with reference to selected critical theories (past and present).

In this modern day consumer culture that we live in, advertising has become a significantly growing influence over the public, arguably being the most dominant medium of the 21st century.  Bullmore's statement suggests he feels this constant, over whelming influx of advertising influences today’s society into changing the way people feel about themselves and their lifestyles.  It creates desires that audiences don't particularly need but are pressured into thinking they do because of the persuasive nature of the advert.  
Bertrand Russell supports Bullmore's statement saying, 'it is preoccupation with possessions more than anything else, that prevents us from living freely and nobly', implying modern culture has become obsessive with owning materialistic possessions.
This leads me to conclude that the audience is buying into the idealistic prospect of the product as opposed to its practicality.   It is difficult, however, to apply this notion to the statement as its somewhat contradictory, regardless as to whether it changes the way people think or feel, the product still sells.

Advertisers never claim that one needs the product to have the lifestyle conveyed in the advert but subtly manipulates the target group in to believing it is needed to gain that lifestyle.  A key element of an adverts appeal is to play on what is considered to be the 'perfect' way of life, stereotyping who people want to be.  A prime example of this is the use of celebrities.  'Those higher in the social heir achy, celebrity heir achy  or knowledge heir achy have an advantage in persuasion.  While there may be some questioning, compliance is often driven by a desire to identify with the prestige group or person.'  (Shaughnessy, 2004)                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                 Instantly recognisable famous people who are currently regularly appearing in the media, having said that, the person endorsing the product doesn't necessarily have to be universally recognised, only amongst the target group.  An advertiser would be selective about the person chosen to endorse the product depending on the aspirations of the audience that they feel the product is aimed at.  An example of an advert using the concept of consumer ideology is 'Chanel No.5' featuring actress Audrey Tatou.  Tatou is seen, in the public eye, as someone who radiates class, and as expected the stylistic nature of the advert reflects this.   The advert explores the theme of passionate lust, which is encapsulated by the silent intensity between the man and the woman, a lust that one would expect to see in a film that is viewed by the target audience for this product.  This makes it appeal to its audience on two levels, one paints a picture of the way of life that someone may long for, yet the only thing accessible from it is the product, giving them a fragment of that lifestyle for them to then build upon.  The second plays on an individuals sense of vanity, the viewer will project an image of themselves as the female figure in the advertisement, who is seen by society as desirable, and in order to achieve this heighten premise of desirability, can gain it through the acquisition of this product.  John Berger (1972) writes in 'Ways of Seeing' 'one could put it this way: the publicity image steals her love of herself as she is, and offers it back to her for the price of the product.'  Similarly Williamson in decoding advertisements states,  ‘Advertising may appropriate, not only real areas of time and space, and give them false content, but real needs and desires in people, which are given a false fulfilment’(Williamson, 2002)

An advert will use the same method of manipulation with two contrasting advertisements that could be aimed at completely separate audiences, however they both use the medium of sexual desire in order to entice their consumer.  For example an advert that is targeted at a teenage male wouldn't display the passionate lust that is depicted in a fragrance advert but more of a derogatory leering of the females around him.  In the 'Lynx Shower Gel advert: Do the Wash' it shows a young man on a beach using the product and the sheer scent triggers multiple attractive females to lustfully surround him.  They choose not to use a conventionally attractive male figure but instead a more relatable one, as a teenager’s general outlook of themselves will lack more confidence than that of an adult man.  Once the audience can relate to a character, it is then in the hands of the advertisers to manipulate the public into believing that this product can better you.  In contrast, the 'Hugo Boss' advert featuring Ryan Reynolds, appeals to a more complacent male adult.  The advert shows no development of passion nor is there any teenage promiscuity, or chase as seen in the 'Chanel No. 5' advert.  Reynolds possessions are instantly seen with a sophisticated modern panoramic view penthouse, the dominant figure gazes out of the window almost basking in his own success. His love interest is seen undressing as he stands there effortlessly drawing all of her sexual attention towards him.  

The approach for both male and female fragrance adverts are similar with a small difference, again both playing on vanity.  In the 'Chanel' advert the female audience is envious of Tatou and what she represents.  Focusing on Tatou's empowerment, what she can achieve and what is drawn to her, enhancing the envy for Tatou and the product itself.  Whereas a male aftershave advert, the man is already empowered, and the audiences yearning derives from what the man possess rather than idolising the figure himself.  Berger (1972) writes 'It offers him an image of himself made glamorous by the product or opportunity it is trying to sell.  The image then makes him envious of himself as he might be.'  'Studies of narcissism indicated that nothing appeals more to people than themselves; so why not help people buy a projection of themselves?' (Packard, 1980)

A technique advertisers have to incorporate to maintain credibility is to constantly refer to the past and what the future attributes will hold.  The company, Apple is a prime example of a brand that claims their latest model is a revolution to society, yet its overshadowed by the upgraded version released a year later almost making it redundant.  It focuses on the previous attributes of its former product and the current significance of its latest upgraded model.

It is easy to buy into the false promises because we are constantly surrounded by the visual images that publicly promote consumer goods.  Advertising has become a part of modern day culture, it appeals to the masses and so makes the individual feel pressured into conforming to the trend, that is now day to day life.  Berger (1972) writes 'We are now so accustomed to being addressed by these images that we scarcely notice their total impact.'  And Sut Jhally (1990) concurs through 'The Codes of Advertising' 'Satisfaction is measured against a social scale, or an average standard.  As a society gets richer and more goods are available to a wider group of people, so the average standard also rises and the 'level' of satisfaction remains stable.'

I agree with the statement Bullmore presents to a certain extent, advertisements subliminally disguise the simple intention of them selling a product for no more than financial gain under the guise of a false promise and friendly aid.  However, saying this, the purchasing of the product may superficially give the consumer a sense of materialistic fulfillment. This s a double edged sword, the product may give a sense of whatever the buyer was hoping for but it may not be in the way the advert was suggesting. Adverts can greatly manipulate the way people think and feel, by focusing on people’s insecurities and using them to believe in their product.  It uses their own sense of vanity and self projection and lures them into believing the qualities of the person portrayed in the advertisements can be achieved.  It is because of this, the public feels obligated to possess these otherwise unnecessary commodities.  Furthermore it proves, through changing the way people think and feel, advertising does sell.  Berger (1972) writes from 'Ways of Seeing' 'Capitalism survives by forcing the majority, whom it exploits, to define their own interests as narrowly as possible.  This was once achieved by extensive deprivation.  Today in the developed countries it is being achieved by imposing a false standard of what is and what is not desirable.'


-Goddard, A (1998) 'The Language of Advertising', USA and Canada, Routledge

-Phillips.J.M (1997) 'Ethics & Manipulation in Advertising', Westport, CT, US, Greenwood Publishing Group Inc.

-Berger, J (1972) ‘Ways of Seeing’, UK, Penguin

-Jhally, S (1990) ‘The Codes of Advertising’, UK, Routledge; Reprint edition

-Williamson, J (2002) Decoding Advertisements: Ideology and Meaning in Advertising, London: Marion Boyars Publishers Ltd
-Packard, V (1980) 'The Hidden Persuaders', United States, Brooklyn, Ig Publishing
-Shaughnessy, J & Shaughnessy, N (2004) 'Persuasion in Advertising' Abingdon, Oxon. Florence Production Ltd.


This is the final print, I don't think the stock worked as well and I would of liked to of looked at printing on various paper if not for time and money, next time I would like to try book binding.


These are the final pages of the book I have chosen to be in the publication, I prefer these ones because I think it looks consistent and the colour scheme works well:


TASK:  Find five graphic designers that relate to these lectures:

Modernism / Postmodernism
Graffiti & Street Art / Film Theory
High Culture vs Low Culture
A History of Type / Media Specificity
Communication / Advertising

Hans Neuburg was born on 20th March 1904 in Grulich, Czechoslovakia. In 1910, Neuburg became a residence in Zurich. He got some commercial apprenticeship and then in 1928, he was employed as a copywriter by Max Dalang. He worked as a freelancer before he hired by Jean Haecky in Basle as an advertising manager. In 1952, he became an editor for Camera magazine for two years. In 1958, along side with Richard Paul Lohse, Joseph Müller-Brockmann and carlo vivarelli published a “Neue Grafik” magazine. He is not only expertise in editorial but also in the exhibition design. Among of the exhibitions were Swiss National Exhibition of 1939 and the Brussels World Fair of 1958.
Publication include:
  • Moderne Werbe- und Gebrauchsgraphik (Raversburg, 1960)
  • Richard Paul Lohse: 60. Geburstag (ed. Teufen, 1962)
  • Graphic design in Swiss Industry (ABC Verlag, 1965)
  • Publicity and Graphic design in the chemical industry (ABC Verlag, 1967)
  • Conceptions of International Exhibition ( ABC Verlag, 1969)
  • 50 anni di Grafica costruttiva (Milan, 1983)

Josef Müller-Brockmann, (May 9, 1914, in Rapperswil – August 30, 1996), was a Swiss graphic designer and teacher. He studied architecture, design and history of art at both the University and Kunstgewerbeschule in Zurich. In 1936 he opened his Zurich studio specialising in graphic design, exhibition design and photography. From 1951 he produced concert posters for the Tonhalle in Zurich. In 1958 he became a founding editor of New Graphic Design along with R.P. Lohse, C. Vivarelli, and H. Neuburg. In 1966 he was appointed European design consultant to IBM. Müller-Brockman was author of the 1961 publications The Graphic Artist and his Design Problems, Grid Systems in Graphic Design where he advocates use of the grid for page structure, and the 1971 publications History of the Poster and A History of Visual Communication.
He is recognised for his simple designs and his clean use of typography, notably Akzidenz-Grotesk, shapes and colours which inspires many graphic designers in the 21st century.
As with most graphic designers that can be classified as part of the Swiss International Style, Joseph Müller-Brockmann was influenced by the ideas of several different design and art movements including Constructivism, De Stijl, Suprematism and the Bauhaus. He is perhaps the most well-known Swiss designer and his name is probably the most easily recognized when talking about the period. He was born and raised in Switzerland and by the age of 43 he became a teacher at the Zurich school of arts and crafts.



Herbert Bayer (April 5, 1900 – September 30, 1985) was an Austrian American graphic designer, painter, photographer, sculptor, art director, environmental & interior designer, and architect, who was widely recognized as the last living member of the Bauhaus and was instrumental in the development of the Atlantic Richfield Company's corporate art collection until his death in 1985.
Bayer apprenticed under the artist Georg Schmidthammer in Linz. Leaving the workshop to study at the Darmstadt Artists' Colony, he became interested in Walter Gropius's Bauhaus manifesto. After Bayer had studied for four years at the Bauhaus under such teachers as Wassily Kandinsky, Paul Klee and László Moholy-Nagy, Gropius appointed Bayer director of printing and advertising.
In the spirit of reductive minimalism, Bayer developed a crisp visual style and adopted use of all-lowercase, sans serif typefaces for most Bauhaus publications. Bayer is one of several typographers of the period including Kurt Schwitters and Jan Tschichold who experimented with the creation of a simplified more phonetic-based alphabet. From 1925 to 1930 Bayer designed a geometric sans-serif Proposal for a Universal Typeface[1] that existed only as a design and was never actually cast into real type. These designs are now issued in digital form as Bayer Universal. The design also inspired ITC Bauhaus and Architype Bayer, which bears comparison with the stylistically related typeface Architype Schwitters.

Henry Charles Beck (4 June 1902 – 18 September 1974), known as Harry Beck, was an English engineering draftsman best known for creating the present London Underground Tube map in 1931. Beck drew up the diagram in his spare time while working as an engineering draftsman at the London Underground Signals Office. London Underground was initially sceptical of Beck's radical proposal — it was an uncommissioned spare-time project, and it was tentatively introduced to the public in a small pamphlet in 1933. It immediately became popular, and the Underground has used topological maps to illustrate the network ever since.
The striking Tube map that is recognised across the globe was the brainchild of Underground electrical draughtsman, Harry Beck, who produced this imaginative yet stunningly simple design back in 1933.
Beck based the map on the circuit diagrams he drew for his day job, stripping the sprawling Tube network down to basics.
The result was an instantly clear and comprehensible chart that would become an essential guide to London - and a template for transport maps the world over.
Beck's revolutionary design, with certain modifications and additions, survives to the present day and is set to serve London Underground and its millions of customers for many years to come.
Max Hubert Innocenz Maria Burchartz (1887 – 1961) was a German photographer.
In 1922 Burchartz worked with Theo van Doesburg on a still-life course at the Bauhaus in Weimar, a break from his past work and turned him toward the 'modern trend', which was from then on expressed in a constructional style. While at the Bauhaus, he also worked as a translator.
The multi-talented Max Burchartz was a member of the avant-garde group that criticised Bauhaus at a spectacular congress organised by the Constructivists and Dadaists in Weimar in 1922-23. Influenced by the Dutch De Stijl School, Burchartz turned away from expressionism and moved towards constructivism. He undertook another radical step when he gave up painting and dedicated himself to Neue Gestaltung in typography and advertising. In 1924, he founded the werbe-bau advertising agency in Bochum in the core region of industrial development.

Burchartz’s typophotos for the Bochum Association, colour coding system for the Hans Sachs Building in Gelsenkirchen, foundation courses at the Folkwang Academy in Essen, and many art theory and pedagogical texts are evidence of his work as a reformer. The photograph of his young daughter was taken in 1928. Called “Lotte (Auge)”, it became an icon of modern photography.


Jamie Reid (born 1947) is a British artist and anarchist with connections to the Situationists. His work, featuring letters cut from newspaper headlines in the style of a ransom note, came close to defining the image of punk rock, particularly in the UK. His best known works include the Sex Pistols album Never Mind the Bollocks, Here's the Sex Pistols and the singles "Anarchy in the UK", "God Save The Queen" (based on a Cecil Beaton photograph of Queen Elizabeth II, with an added safety pin through her nose and swastikas in her eyes, described by Sean O'Hagan of The Observer as "the single most iconic image of the punk era"), "Pretty Vacant" and "Holidays in the Sun".
Of course he is notorious for his work with the Sex Pistols in the mid to late-seventies, but there is so much more than this. His work with the Suburban Press was an early coalescing of his political drive and artistic 'nous' and work after the inmplosion of the Pistols extended his artistic drive through many genres - music, publishing, performance. His work is a spectrum with many unseen hues and it is our pleasure to journey through these works in presenting and safeguarding the Jamie Reid Archive. After a ten year installation period with the Strongroom Studios in Shoreditch he is now immersed in discovering and revealing the Aspects of the Eightfold Year." John Marchant

Barbara Kruger (born January 26, 1945) is an American conceptual artist. Much of her work consists of black-and-white photographs overlaid with declarative captions—in white-on-red Futura Bold Oblique or Helvetica Ultra Condensed. The phrases in her works often include use of pronouns such as "you", "your", "I", "we", and "they". Kruger lives and works in Los Angeles and New York.
Barbara Kruger was born in Newark, New Jersey, in 1945. After attending Syracuse University, the School of Visual Arts, and studying art and design with Diane Arbus at Parson’s School of Design in New York, Kruger obtained a design job at Condé Nast Publications. Working for Mademoiselle Magazine, she was quickly promoted to head designer. Later, she worked as a graphic designer, art director, and picture editor in the art departments at House and Garden, Aperture, and other publications. This background in design is evident in the work for which she is now internationally renowned. She layers found photographs from existing sources with pithy and aggressive text that involves the viewer in the struggle for power and control that her captions speak to. In their trademark black letters against a slash of red background, some of her instantly recognizable slogans read “I shop therefore I am,” and “Your body is a battleground." Much of her text questions the viewer about feminism, classicism, consumerism, and individual autonomy and desire, although her black-and-white images are culled from the mainstream magazines that sell the very ideas she is disputing. As well as appearing in museums and galleries worldwide, Kruger’s work has appeared on billboards, buscards, posters, a public park, a train station platform in Strasbourg, France, and in other public commissions. She has taught at the California Institute of ArtThe School of the Art Institute of Chicago, and theUniversity of California, Berkeley. She lives in New York and Los Angeles. 

(born September 8, 1954) is an American graphic designer. He is best known for his innovative magazine design, and use of experimental typography. 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.
David Carson was recently named one of the top five most influential designers by Graphic Design USA magazine. His work can be considered post-modern, and he largely influenced the dirty-grunge movement in design trends of the 90s. Carson started designing in the 80s with no formal schooling in the field and has since focused heavily on typography and photography. His work became well-known in the late 80s and early 90s through skateboarding and surfing magazines. Later, he started Ray Gun Magazine, a lifestyle and music magazine, and went on to start his own design firm, David Carson Design. Carson has written and co-authored a handful of books characterizing design trends. He continues to be active in the surfing community. Clients include Quiksilver, Suicide Girls, Samsung, Adidas, Nine Inch Nails, Pepsi, and Toyota.
David Carson’s design aesthetic is best seen through his works. His typographical treatments are first-rate, and he integrates photography to produce a minimal, low-fi look. In his recent work, David Carson has branched out into television and video as well, producing commercials, documentaries, short films, and more.


Born 1957, is an American graphic designer, type designer, writer and educator. He is notable as an essayist and contributor to books and periodicals on graphic design. He is also notable for the design of Keedy Sans, a typeface acquired in the permanent collection of the Museum of Modern Art in 2011.
A 1985 graduate of the Cranbrook Academy of Art, Keedy has been teaching design at the California Institute of the Arts (CalArts) since 1985.  Keedy was also a frequent contributor to Emigre magazine throughout the twenty years of its publication. His designs and essays have been published in EyeI.D.EmigreCritiqueIdeaAdbustersLooking Closer One and Two, Faces on the Edge: Type in the Digital AgeNew Design: Los Angeles and The Education of a Graphic Designer.
His typeface Keedy Sans, designed in 1989, is distributed through Emigre Fonts.  He has also designed the Hard Times typeface which reassembles the elements of Times New Roman. In the mid 1980's he was a proponent of the view that design should be looked at as a cultural practice connected to themes of popular culture than a problem solving one.
Information about the typeface designer Rosmarie Tissi and her fonts.
Rosmarie Tissi was born in Schaffhausen, Switzerland. After one year of preliminary courses at the School of applied art in Zürich, she had a 4-year apprenticeship in a graphic studio in Zurich.
Since 1968 she has shared a studio with Sigi Odermatt in Zurich.
In 1980 she designed 3 typefaces: Sonora, Mindanao, and Sinaloa.
Only Sinaloa is available worldwide. A typeface company in Zurich offered the two others.
Rosmarie Tissi, swiss designer, known for her popular typeface, Sinaola, succeeds at combining a rigid swiss style with playful and colorful experimentation. Rosemarie, has for most of her career, shared a studio with Siegfried Odermatt since 1968, as well as participating in AGI since 1974.

123Klan is a French graffiti crew, founded in 1992 by husband and wife Scien and Klor. Since 1994 the crew have also worked in graphic design, inspired by the work of Neville Brody, and started to apply it to their graffiti (and vice versa). They describe their art as ‘when street knowledge meets technology and graffiti melds with graphic design’. Dean, Sper, Skam, Meric, and Reso 1 are the other crew members.
Now residing in Montréal, Canada - 123Klan's studio has found its niche specializing in character illustration, branding, toy design, and touring the world speaking at conferences. Their client list extends to the likes of Nike, Adidas, Lamborghini, Coca Cola, Stussy, Sony, Nasdaq to name a few.
'The great thing about graffiti is its impact on the streets. But most of people don’t like graffiti, simply because they don’t understand it. In a city you have probably less graffiti than advertising, and most of it is certainly uglier than certain graffiti pieces - so to come up with something that gets an impact on people in this visual jungle, it is a real challenge' - Scien 

They have had exhibitions worldwide, including Lille, Dunkerque, Toulouse, Strasbourg, Paris, Brussels, London, Eindhoven, Roma, Munich, Barcelona, New York City, Singapore, and Zurich.



For the past seven years, pavement artists Joe Hill and Max Lowry have travelled the world from New York to Shanghai creating their unique 3D street art. They design their anamorphic paintings to encourage audience interaction. Their eye-catching creations are ideal for live events, marketing campaigns, music videos and TV commercials.
Banksy is a pseudonymous England-based graffiti artist, political activist, film director, and painter.
His satirical street art and subversive epigrams combine irreverent dark humour with graffiti done in a distinctive stencilling technique. Such artistic works of political and social commentary have been featured on streets, walls, and bridges of cities throughout the world.
Banksy's work was born of the Bristol underground scene which involved collaborations between artists and musicians. According to author and graphic designer Tristan Manco and the book Home Sweet Home, Banksy "was born in 1974 and raised in Bristol, England. The son of a photocopier technician, he trained as a butcher but became involved in graffiti during the great Bristol aerosol boom of the late 1980s." Observers have noted that his style is similar to Blek le Rat, who began to work with stencils in 1981 in Paris, and members of the anarcho-punk band Crass, which maintained a graffiti stencil campaign on the London Tube System in the late 1970s and early 1980s.  However Banksy himself stated on his website that in all actuality he based his work on that of 3D from Massive Attack, stating, "No, I copied 3D from Massive Attack. He can actually draw."
Known for his contempt for the government in labelling graffiti as vandalism, Banksy displays his art on public surfaces such as walls and even going as far as to build physical prop pieces. Banksy does not sell photos of street graffiti directly himself; however, art auctioneers have been known to attempt to sell his street art on location and leave the problem of its removal in the hands of the winning bidder. Banksy's first film, Exit Through the Gift Shop, billed as "the world's first street art disaster movie," made its debut at the 2010 Sundance Film Festival. The film was released in the UK on 5 March 2010. In January 2011, he was nominated for the Academy Award for Best Documentary for the film.


Can you tell us a bit about your background?

I draw pictures of Gargoyles, most of my characters are based on gargoyles, I don't write anything just characters. I grew up in Perth and after a trip to London and Barcelona became interested in painting. Ayems taught me how.

How did you choose your tag, any special meaning?

Yok had no meaning so I wanted my work to give it a meaning. I've since found out it means to disagree in Turkey, and it's Jewish slang for an Aussie, and has something to do with food in Thai.

How did you get in to graffiti?

I loved seeing people's work popping up on the street so started trying out my own. And thanks to Ayems.

What is it that you love about graffiti that keeps you writing?

People experimenting doing new things, surprising you with a twist to their style and doing things they haven't tried before.

Tell us about your style and how it has developed over the years.

It's pretty Looney Tunes cartoon-like I guess, quite basic, bold, I try to keep the number of lines to a minimum, with a bit of an evil undertone.

Who have been your major influences?

Ayem crew  

Paint brand of choice

Belton I guess, with a Dulux fill, Sabotaz has some different colours.

Cap of choice

NY/ Grey dot

What music motivates you to paint?

For some reason it always seams to be slow, down beat kinda stuff. I have been trying to listen to new music lately. I just won some CD's for drawing a picture of Chuck Norris, they are doing the job at the moment.

JR (born 22 February 1983) is the name of a photographer and artist whose identity is unconfirmed. He has described himself as a "photograffeur", he fly posts large black-and-white photographic images in public locations in a manner which is similar to the appropriation of the built environment by the graffiti artist. He states that the street is "the largest art gallery in the world." He started out on the streets of Paris. JR's work "often challenges widely held preconceptions and the reductive images propagated by advertising and the media."
JR's work combines art and action and deals with commitment, freedom, identity and limits.  He has been introduced by Fabrice Bousteau as: "the one we already call the Cartier-Bresson of the 21st century". On 20 October 2010, JR won the TED Prize for 2011. "The TED Prize is awarded annually to an exceptional individual who receives $100,000 and, much more important, 'One Wish to Change the World.' Designed to leverage the TED community's exceptional array of talent and resources, the Prize leads to collaborative initiatives with far-reaching impact."

 (May 8, 1920 – April 25, 1996) was a graphic designer and filmmaker, perhaps best known for his design of film posters and motion picture title sequences.
During his 40-year career Bass worked for some of Hollywood's greatest filmmakers, including Alfred Hitchcock, Otto Preminger, Billy Wilder, Stanley Kubrick and Martin Scorsese. Amongst his most famous title sequences are the animated paper cut-out of a heroin addict's arm for Preminger's The Man with the Golden Arm, the credits racing up and down what eventually becomes a high-angle shot of the United Nations building in Hitchcock's North by Northwest, and the disjointed text that races together and apart in Psycho.
Bass designed some of the most iconic corporate logos in North America, including the AT&T "bell" logo in 1969, as well as AT&T's "globe" logo in 1983 after the breakup of the Bell System. He also designed Continental Airlines' 1968 "jetstream" logo and United Airlines' 1974 "tulip" logo which became some of the most recognized airline industry logos of the era.

The movie’s theme was the struggle of its hero - a jazz musician played by Frank Sinatra - to overcome his heroin addiction. Designed by the graphic designer Saul Bass the titles featured an animated black paper-cut-out of a heroin addict’s arm. Knowing that the arm was a powerful image of addiction, Bass had chosen it – rather than Frank Sinatra’s famous face - as the symbol of both the movie’s titles and its promotional poster.

That cut-out arm caused a sensation and Saul Bass reinvented the movie title as an art form. By the end of his life, he had created over 50 title sequences for Preminger, Alfred Hitchcock, Stanley Kubrick, John Frankenheimer and Martin Scorsese. Although he later claimed that he found the Man with the Golden Arm sequence "a little disappointing now, because it was so imitated".

Established in 2002, La Boca is an award-winning, independent design studio 
specialising in illustration and image-making. We strive to create emotional 
connections through our work and value any small part we can play in contributing 
to popular culture as a whole. 

We've worked with a wide spectrum of international clients, on projects ranging from 
limited edition vinyl record sleeves through to full-scale campaigns that touch 
just about every type of media. 

Our images have featured in publications and exhibitions world-wide, and we have 
been fortunate to receive recognition from a number of prestigious design awards.
We are based in Portobello, West London, and we still enjoy fruit. 

I’m a french graphic designer and illustrator based in Strasbourg France. I love cinema, video games and music so my work is very influenced by these universe. I try to diversify my work, but my projects are often in a minimalist style influenced by Saul Bass and other graphic designer. I mix design elements from different worlds to achievesomething original and representing me. I create just what I like.


Describe your work in 10 words or less.
My collage work is: surreal, colorful, spontaneous, fun, stimulating, weird, um....
What do you like to work with (magazines, photographs, vintage)? Be specific!
I find photographs, and use the blocks of colors in the backgrounds of them for the majority of my work. Sometimes I use construction paper or halftone textures from photocopies, and recently letraset typography for some poster work.
How long have you been creating collages and what made you start?
Not until very recently did I start dabbling in collages. I was looking for a way to play outside of my conceptual, client based design and illustration work.


Are you solely an artist, or do you work in another profession?

I also teach a design class at Missouri State University and work at a coffeehouse occasionally.
Do you have any formal art training?
I have my BFA from MSU.
Explain your favourite techniques.
Sketching, then silkscreen, cutting and pasting, inking, and experimenting always.
Describe your favourite piece ever created.
The one that comes to mind first is an image I made of Little Red Riding Hood, which I created first using cut paper, and colored digitally. It takes everyone a second to see the wolf, which is why I love it so much. Also, I have gotten some freelance work out of it, so that is nice too.

What other artists do you admire?
Too many to name, and not enough related to collage to really mention... recently I have been really digging Fortunato Depero.



Stefan Sagmeister (born 1962 in Bregenz, Austria) is a New York-based graphic designer and typographer. He has his own design firm—Sagmeister Inc.—in New York City. He has designed album covers for Lou Reed, OK Go, The Rolling Stones, David Byrne,Aerosmith and Pat Metheny.

Sagmeister studied graphic design at the University of Applied Arts Vienna. He later received a Fulbright scholarship to study at the Pratt Institute in New York. He began his design career at the age of 15 at "Alphorn", an Austrian Youth magazine, which is named after the traditional Alpine musical instrument.
In 1991, he moved to Hong Kong to work with Leo Burnett's Hong Kong Design Group. In 1993, he returned to New York to work with Tibor Kalman's M&Co design company. His tenure there was short lived, as Kalman soon decided to retire from the design business to edit Colours magazine for the Benetton Group in Rome.
Stefan Sagmeister proceeded to form the New York based Sagmeister Inc. in 1993 and has since designed branding, graphics, and packaging for clients as diverse as the Rolling Stones, HBO, the Guggenheim Museum and Time Warner. Sagmeister Inc. has employed designers including Martin Woodtli, and Hjalti Karlsson and Jan Wilker, who later formed Karlssonwilker.
Stefan Sagmeister is a long-standing artistic collaborator with musicians David Byrne and Lou Reed. He is the author of the design monograph "Made You Look" which was published by Booth-Clibborn editions.
Solo shows on Sagmeister, Inc.'s work have been mounted in Zurich, Vienna, New York, Berlin, Japan, Osaka, Prague, Cologne, and Seoul. He teaches in the graduate department of the School of Visual Arts in New York and has been appointed as the Frank Stanton Chair at the Cooper Union School of Art, New York.
His motto is "Design that needed guts from the creator and still carries the ghost of these guts in the final execution."
Sagmeister goes on a year-long sabbatical around every seven years, where he does not take work from clients. Currently on one in Bali, Indonesia, he is resolute about this, even if the work is tempting, and has displayed this by declining an offer to design a poster for Barack Obama's presidential campaign. Sagmeister spends the year experimenting with personal work and refreshing himself as a designer.

Andy Warhol (August 6, 1928 – February 22, 1987) was an American artist who was a leading figure in the visual art movementknown as pop art. His works explore the relationship between artistic expression, celebrity culture and advertisement that flourished by the 1960s. After a successful career as a commercial illustrator, Warhol became a renowned and sometimes controversial artist. The Andy Warhol Museum in his native city, Pittsburgh, Pennsylvania, holds an extensive permanent collection of art and archives. It is the largest museum in the United States of America dedicated to a single artist. http://en.wikipedia.org/wiki/Andy_Warhol
More than twenty years after his death, Andy Warhol remains one of the most influential figures in contemporary art and culture. Warhol’s life and work inspires creative thinkers worldwide thanks to his enduring imagery, his artfully cultivated celebrity, and the ongoing research of dedicated scholars. His impact as an artist is far deeper and greater than his one prescient observation that “everyone will be world famous for fifteen minutes.” His omnivorous curiosity resulted in an enormous body of work that spanned every available medium and most importantly contributed to the collapse of boundaries between high and low culture. http://www.warholfoundation.org/legacy/biography.html

 Milton Glaser (b.1929) is among the most celebrated graphic designers in the United States. He has had the distinction of one-man-shows at the Museum of Modern Art and the Georges Pompidou Center. In 2004 he was selected for the lifetime achievement award of the Cooper Hewitt National Design Museum. As a Fulbright scholar, Glaser studied with the painter, Giorgio Morandi in Bologna, and is an articulate spokesman for the ethical practice of design. He opened Milton Glaser, Inc. in 1974, and continues to produce an astounding amount of work in many fields of design to this day.
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), 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. His work is in the collections of the Museum of Modern Art, New York; the Smithsonian Institution, Washington, D.C.; the Cooper Hewitt National Design Museum, New York; the Victoria and Albert Museum, London; and the Israel Museum, Jerusalem. http://en.wikipedia.org/wiki/Milton_Glaser

Vogue is a fashion and lifestyle magazine that is published monthly in 19 national and one regional edition by Condé Nast.

Damien Steven Hirst (born 7 June 1965) is an English artist, entrepreneur and art collector. He is the most prominent member of the group known as the Young British Artists (or YBAs), who dominated the art scene in Britain during the 1990s. He is internationally renowned, and is reportedly Britain's richest living artist, with his wealth valued at £215m in the 2010 Sunday Times Rich List. During the 1990s his career was closely linked with the collector Charles Saatchi, but increasing frictions came to a head in 2003 and the relationship ended.

Arthur Eric Rowton Gill /ˈɡɪl/ (22 February 1882 – 17 November 1940) was a British sculptor, typeface designer, stonecutter and printmaker, who was associated with the Arts and Crafts movement.
Eric Gill's types include:
  • Gill Sans (his most famous face and lasting legacy to typography 1927–30)
  • Perpetua (1926)
  • Perpetua Greek (1929)
  • Golden Cockerel Press Type (for the Golden Cockerel Press; 1929)
  • Solus (1929),
  • Joanna (based on work by Granjon; 1930–31)
  • Aries (1932)
  • Floriated Capitals (1932)
  • Bunyan (1934)
  • Pilgrim (recut version of Bunyan; 1953)
  • Jubilee (also known as Cunard; 1934)
In his 1947–49 redesign for Penguin Books, a project that resulted in the establishment of Penguin Composition Rules, Jan Tschichold specified use of Gill Sans for book titles, and in branding their Pelican imprint. In the 1990s, the BBC adopted Gill Sans for its wordmark and many of its on-screen television graphics.


Max Miedinger (December 24, 1910 in Zurich, Switzerland - March 8, 1980, Zürich, Switzerland) was a Swiss typeface designer. He was famous for creating Neue Haas Grotesk typeface in 1957 which was renamed Helvetica in 1960. Marketed as a symbol of cutting-edge Swiss technology, Helvetica went global at once.
Between 1926 and 1930, Max was trained as a typesetter in Zürich, after which he attended evening classes at the Kunstgewerbeschule in Zürich.
Later, he became a typographer for Globus department store's advertising studio in Zürich, and became a customer counselor and typeface sales representative for the Haas’sche Schriftgießerei in Münchenstein near Basel, until 1956, where he became a freelance graphic artist in Zürich.http://en.wikipedia.org/wiki/Max_Miedinger
Helvetica was developed in 1957 by Max Miedinger with Eduard Hoffmann at the Haas'sche Schriftgiesserei (Haas type foundry) of Münchenstein, Switzerland. Haas set out to design a new sans-serif typeface that could compete with the successful Akzidenz-Grotesk in the Swiss market. Originally called Neue Haas Grotesk, its design was based on Schelter-Grotesk and Haas’ Normal Grotesk. The aim of the new design was to create a neutral typeface that had great clarity, no intrinsic meaning in its form, and could be used on a wide variety of signage.
When Linotype adopted Neue Haas Grotesk (which was never planned to be a full range of mechanical and hot-metal typefaces) its design was reworked. After the success of Universe, Arthur Ritzel of Stempel redesigned Neue Haas Grotesk into a larger family.
In 1960, the typeface's name was changed by Haas' German parent company Stempel to Helvetica in order to make it more marketable internationally. It was initially suggested that the type be called 'Helvetia' which is the original Latin name for Switzerland. This was ignored by Eduard Hoffmann as he decided it wouldn't be appropriate to name a type after a country. He then decided on 'Helvetica' as this meant 'Swiss' as opposed to 'Switzerland'.

Neville Brody (born 23 April 1957 in London) is an English graphic designer, typographer and art director.
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 has been announced to be the new Head of the Communication Art & Design department at the Royal College of Art commencing in January 2011.
He was one of the founding members of FontWorks in London and designed a number of notable typefaces for them. He was also partly responsible for instigating the FUSE project an influential fusion between a magazine, graphics design and typeface design. Each pack includes a publication with articles relating to typography and surrounding subjects, four brand new fonts that are unique and revolutionary in some shape or form and four posters designed by the type designer usually using little more than their included font. In 1990 he also founded the FontFont typeface library together with Erik Spiekermann.
Notable fonts include the updated font for the Times newspaper, Times ModernNew Deal as used in publicity material and titles for the film Public Enemies and Industria. http://en.wikipedia.org/wiki/Neville_Brody
Edward Johnston, CBE (11 February 1872 – 26 November 1944) was a British craftsman who is regarded, with Rudolf Koch, as the a father of modern calligraphy, in the form of the broad edged pen as a writing tool, a particular form of calligraphy.
Johnston was born in San José, Uruguay. He started teaching at the Central School of Arts and Crafts in London's Southampton Row, where he influenced the typeface designer and sculptor Eric Gill. Then he moved on to the Royal College of Art and many students were inspired by his teachings. In 1912 Johnston followed Gill to Ditchling where he died in 1944.
He is most famous for designing the sans-serif Johnston typeface that was used throughout the London Underground system until it was re-designed in the 1980s. He also redesigned the famous roundel symbol used throughout the system.
He has also been credited for reviving the art of modern penmanship and lettering single-handedly through his books and teachings. Johnston also devised the simply crafted round calligraphic handwriting style, written with a broad pen, known as the foundational hand.
In 1921, students of Johnston founded the Society of Scribes & Illuminators (SSI), probably the world's foremost calligraphy society.

Baskerville is a transitional serif typeface designed in 1757 by John Baskerville (1706–1775) in Birmingham, England. Baskerville is classified as a transitional typeface, positioned between the old style typefaces of William Caslon, and the modern styles of Giambattista Bodoni and Firmin Didot.
The Baskerville typeface is the result of John Baskerville's intent to improve upon the types of William Caslon. He increased the contrast between thick and thin strokes, making the serifs sharper and more tapered, and shifted the axis of rounded letters to a more vertical position. The curved strokes are more circular in shape, and the characters became more regular. These changes created a greater consistency in size and form.
Baskerville's typeface was the culmination of a larger series of experiments to improve legibility which also included paper making and ink manufacturing. The result was a typeface that reflected Baskerville's ideals of perfection, where he chose simplicity and quiet refinement. His background as a writing master is evident in the distinctive swash tail on the uppercase Q and in the cursive serifs in the Baskerville Italic. The refined feeling of the typeface makes it an excellent choice to convey dignity and tradition.
In 1757, Baskerville published his first work, a collection of Virgil, which was followed by some fifty other classics. In 1758, he was appointed printer to the Cambridge University Press. It was there in 1763 that he published his master work, a folio Bible, which was printed using his own typeface, ink, and paper.http://en.wikipedia.org/wiki/Baskerville


Richard Hilton Eckersley (20 February 1941–17 April 2006) was a graphic designer best known for experimental computerized typography designed to complement deconstructionist academic works.
Born in Lancashire, England, his father Tom Eckersley was a noted poster designer during and after the Second World War, later to become head of the School of Art and Design at the London College of Printing in the 1960s. After attending Trinity College in Dublin, Eckersley began his design career at Lund Humphries, the publisher of Typographica andThe Penrose Annual, where E. McKnight Kauffer had once been art director.  http://en.wikipedia.org/wiki/Richard_Eckersley_(designer)
Walton Hardy Creel (born November 12, 1974), also known as Walt Creel, is an American artist who lives and works in Birmingham, Alabama. Creel is best known for his series Deweaponizing the Gun, which focuses on firearms.

Julien Vallée (born 1983 in Gatineau, Quebec) is a graphic designer and artistic director living and working in Montreal, Quebec. He has created works for many international clients including MTV, Swatch and the New York Times Magazine. His work was also featured on the covers of several magazines like Computer Arts and IdN, and the book Tangible published by Gestalten.

Rob Ryan is a British visual artist who specialises in papercutting , screen-printing and drawing and painting. He is now most famous for his detailed paper cut outs.
Ryan was born in Cyprus in 1962 to Irish parents. He is the youngest of three brothers and his father was an RAF mess hall officer. He studied at Trent Polytechnic and has a Master of Arts in printmaking from the Royal College of Art/ He graduated from the Royal College of Art in 1987.
His artwork has featured in VogueElle, and Stylist. He has also collaborated with fashion designer Paul Smith.
He has illustrated book and album covers, including John Connolly's novel The Book of Lost Things, Erasure's album NightbirdChambers Lost Crafts by Una McGovern and Dara Horn's novel The World to Come.
Ryan's first book, This Is for You, was published on October 4, 2007 by Hodder & Stoughton; it consists of a fairy tale told through his paper cut-out art and explores themes of love and loneliness. Ryan also creates the Global Gift greeting cards for the charity Trocaire.

Ed Fella (born 1938 in Detroit) is an artist, educator and graphic designer whose work has had an important influence on contemporary typography. Ed worked as a commercial artist designing brochures and illustrations. He practiced professionally as a commercial artist in Detroit for 30 years before receiving an MFA in Design from the Cranbrook Academy of Art in 1987. http://en.wikipedia.org/wiki/Ed_Fella

Richard 'Jock' Kinneir (11 February 1917 – 23 August 1994) was a typographer and graphic designer who, with colleague Margaret Calvert, designed many of the road signs used throughout the United Kingdom. Their system has become a model for modern road signage.
Kinneir was born in Hampshire in 1917 He studied engraving at the Chelsea School of Art from 1935 to 1939. After World War II Kinneir was employed as an exhibition designer by the Central Office of Information. He next worked for the Design Research Unit, and then opened his own practice in 1956. He also taught part-time at the Chelsea School of Art.
Kinneir's first big commission was the design of the signage for Gatwick Airport. He chose one of his students at Chelsea, Margaret Calvert, to assist him. When Sir Colin Anderson, the chairman of the P&O Line shipping company read about the Gatwick signage, he chose Kinneir to design a baggage labelling system for P&O. In 1957 Anderson was appointed chairman of the government committee formed to design signs for the new British network, and so he asked Kinneir to design them. The objective was to produce signs that could be read at speed. For the signs, Kinneir and Calvert developed a new typeface, based on Akzidenz Grotesk. This typeface was later named Transport. It was first used for the Preston By-pass in 1958. http://en.wikipedia.org/wiki/Jock_Kinneir

Over the years I have worked with many of the world's largest organisations including Renault, VW, Tata and BT on branding and identity issues. More recently, as co-founder and Chairman of Saffron Brand Consultants, I’ve worked on a number of interesting jobs.


AIGA (formerly an acronym for the "American Institute of Graphic Arts") is an American professional organisation for design. Organized in 1914, AIGA currently has more than 22,000 members throughout 66 chapters and more than 200 student groups nationwide. Its activities include the AIGA Medal, the AIGA Design Archives, and annual design competitions 365 and 50 Books/50 Covers. The organization's tagline is "the professional association for design", which is used immediately after the AIGA name in its own publications.


The Adbusters Media Foundation is a Canadian-based not-for-profit, anti-consumerist, pro-environment organization founded in 1989 by Kalle Lasn and Bill Schmalz in Vancouver, British Columbia. Adbusters describes itself as "a global network of artists, activists, writers, pranksters, students, educators and entrepreneurs who want to advance the new social activist movement of the information age."
Characterized by some as anti-capitalist or opposed to capitalism, it publishes the reader-supported, advertising-free Adbusters, an activist magazine with an international circulation of 120,000 devoted to challenging consumerism. Past and present contributors to the magazine include Christopher Hedges, Matt Taibbi, Bill McKibben, Jim Munroe, Douglas Rushkoff, Jonathan Barnbrook, David Graeber, Simon Critchley, Slavoj Zizek, Michael Hardt, David Orrell and others.
Adbusters has launched numerous international campaigns, including Buy Nothing Day, TV Turnoff Week and Occupy Wall Street, and is known for their "subvertisements" that spoof popular advertisements. In English, Adbusters has bi-monthly American, Canadian, Australian, UK and International editions of each issue. Adbusters's sister organizations include Résistance à l'Aggression Publicitaire and Casseurs de Pub in France, Adbusters Norge in Norway, Adbusters Sverige in Sweden and Culture Jammers in Japan.

The authentic 1960s flavour is on tap for a new ad campaign for Stella Artois with artwork by Robert McGinnis, who was behind posters for Breakfast at Tiffany's, Barbarella and a couple of Bond flicks.


IKEA marketing strategy
The IKEA vision, business idea and market positioning statement provide a framework for all IKEA marketing communication worldwide.

The IKEA vision is "To create a better everyday life for the many people."

Our business idea is "To offer a wide range of well designed, functional home furnishing products at prices so low that as many people as possible will be able to afford them."

Our market positioning statement is "Your partner in better living. We do our part, you do yours. Together we save money.


a communications agency that turns
creativity into commercial advantage through
ideas that connect with consumers wherever
they are, from app to ad.