Neville Brody

Neville Brody (born April 23, 1957 in London) is an English graphic designer, typographer and art director.
Neville Brody is an alumnus of the London College of Communication and studied at Hammersmith College of Art under Ruskin Spear (alumni include Glenn Tutsell, Michael Peters and Howard Milton) 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, Depeche Mode and Nine Inch Nails.
He was one of the founding members of FontWorks [1] 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.
Initially working in record cover design, Brody made his name largely through his revolutionary work as Art Director for The Face magazine. Other international magazine and newspaper directions have included City Limits, Lei, Per Lui, Actuel and Arena, together with the radical new look for two leading British newspapers the The Guardian and The Observer (both newspaper and magazine).[citation needed]

Brody has consistently pushed the boundaries of visual communication in all media through his experimental and challenging work, and continues to extend the visual languages we use through his exploratory creative expression. In 1988 Thames & Hudson published the first of two volumes about his work, which became the world's best selling graphic design book.[citation needed] Combined sales now exceed 120,000.[citation needed] An accompanying exhibition of his work at the Victoria and Albert Museum attracted over 40,000 visitors[citation needed] before touring Europe and Japan.
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 San Francisco, Paris, Berlin and New York. 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.
Recent projects include the redesign of the The Times in November 2006 with the creation of a new font Times Modern. The typeface shares many visual similarities with Mercury designed by Jonathan Hoefler. It has been widely reported that the newspaper had only changed typefaces four times. This is not the case, the newspaper had changed typefaces countless times during the age of handsetting. The original Daily Universal Register was set in a Caslon like typeface from the Fry Type foundry
The company also completed a visual identity project for the famous Paris contemporary art exhibition Nuit Blanche in 2006.
Brody’s team launched a new look for the champagne brand Dom Pérignon in February 2007, having been appointed in 2004 to help the brand with its strategy and repositioning. 
 A sister company, Research Publishing, produces and publishes experimental multi-media works by young artists. The primary focus is on FUSE, the conference and quarterly forum for experimental typography and communications. The publication is approaching its 20th issue over a publishing period of over ten years. Three FUSE conferences have so far been held, in London, San Francisco and Berlin. The conferences bring together speakers from design, architecture, sound, film and interactive design and web.


Chase

These guys are very inspirational.

Why not associates is a British branding and graphic design company who create vivid designs for clients in business, government and the public sector. For almost two decades (at this posting), why not associates has been creating innovative works in many different media on many types of projects, including corporate identity, digital design, motion graphics and television commercial direction, editorial design, environmental design, publishing, and public art and art installations for specific communities. Impressive and thoughtful work.

Designers Republic

Initially, Ian Anderson founded tDR to design flyers for the band Person to Person, which he managed at the time. His first ideas were inspired by Russian constructivism. From their beginning, the works should be viewed in contrast to the current understanding of design (Quote: tDR is a declaration of independence from what we perceive to be the existing design community[citation needed]).
An early client was Leeds band Age of Chance, for whom they developed a series of striking record covers from 1986-1987. The sleeve of Don't Get Mad ... Get Even was one of Q Magazine's 100 Best Record Covers Of All Time (2001).[1]
The Designers Republic were introduced to a larger audience by their record covers for the English electronica label Warp Records. They designed the covers of CDs by Autechre and Aphex Twin, but also for artists such as Fluke, Funkstörung, Supergrass, Pop Will Eat Itself and Towa Tei.
Outside of the musical sector, tDR created the visuals, packaging and manual for the PlayStation/Sega Saturn game Wipeout, the interface for the PC game Hardwar, and packaging and posters for the first Grand Theft Auto. They cooperated with the Swatch company in 1996 to design their own watch. They also designed the packaging for Sony's Aibo.
The book 3D → 2D: Adventures In And Out Of Architecture, released in 2001, was an architectural examination of the Chamber of Commerce and Industry of Slovenia presented in the graphic style of their previous work. The book was preordered by over 3,000 fans[citation needed], but fell short of the expectations of some due to a lack of seemingly innovative material.
Current members are Ian Anderson, Darren Pascoe, Richard Wright, Antony Smith, Tom Smith, Nick Tymn, Nicole Jacek, Lydia Lapinski, Richard Wilson
Past members include: Nick Bax, Matt Pyke, Michael C. Place and Sanderson Bob.
[edit]Influence

The work of tDR had great influence on the development of graphic design, especially in the fields of web and cover design in the electronica scene.[citation needed]
[edit]Style

The Designers Republic's works are playful and bright, and considered Maximum-minimalist, mixing images from Japanese anime cartoons and subvertized corporate logos, with a postmodern tendency towards controversial irony, featuring statements like "Work Buy Consume Die", "Customized Terror", "Buy nothing, pay now", or indeed ""Made In The Designers Republic"". They also celebrated their northern roots with phrases like 'Made in the Designers Republic, North of Nowhere' and 'SoYo' (referring to Sheffield South Yorkshire - stating they were not from London's design community in Soho.

Kyle Cooper is a designer of motion picture title sequences. His work includes the opening credit sequences of Se7en (1995), The Island of Dr. Moreau (1996), Flubber (1997), The Mummy (1999), Spider-Man (2002), Dawn of the Dead (2004), Spider-Man 2 (2004), Godzilla Final Wars (2004); and the video games Metal Gear Solid 2: Sons of Liberty (2001) and Metal Gear Solid 3: Snake Eater (2004).
He has also directed a film, New Port South (2001).

Lauren Child was born in 1967 and grew up in Marlborough, Wiltshire. She studied Art at Manchester Polytechnic and London Art School, after which she worked in a variety of jobs, including assistant to Damien Hirst. She also started her own company, 'Chandeliers for the People', making exotic lampshades.

In 1999 she had two picture books published, I Want a Pet! (1999) and Clarice Bean, That's Me (1999), the latter being shortlisted for the Nestlé Smarties Book Prize. In 2000 she won a Kate Greenaway Medal for I Will Not Ever, NEVER Eat a Tomato (2000) and a second Nestlé Smarties Book Prize in 2002 for That Pesky Rat (2002). In the same year, she wrote her first children's novel, Utterly Me, Clarice Bean (2002). Her second book in this series, Clarice Bean Spells Trouble was shortlisted for the 2005 British Book Awards Children's Book of the Year.
Lauren Child's humorous illustrations contain many different mediums including magazine cuttings, collage, material and photography as well as traditional watercolours. As well as being author of several highly successful books, she is the illustrator of the Definitely Daisy series by Jenny Oldfield.

A television series based on her 'Charlie and Lola' books has recently been made into an animated series for CBBC, and she has written several books recently which are based on these tales.
Lauren Child lives in London, where she works for the Design Agency 'Big Fish'.

David Carson

He was born September 8th, 1952 in Corpus Christi, Texas. Carson and his family moved to New York City four years later. Since then he has traveled all around the world but has maintained New York as his base of operations. Carson now owns two studios; one in New York and another in Charleston, South Carolina.

Because of his father, Carson traveled all over America, Puerto Rico, and the West Indies. These journeys affected him profoundly and the first signs of his talent were shown at a very young age; however, his first actual contact with graphic design was made in 1980 at the University of Arizona on a two week graphics course. he attended San Diego St. University as well as Oregon College of Commercial Art. Later on in 1983, Carson was working towards a Bachelor of Arts in Sociology when he went to Switzerland, where he attended a three-week workshop in graphic design as part of his degree. This is where he met his first great influence, who also happened to be the teacher of this course, Hans-Rudolph Lutz.

During the period of 1982–1987, Carson worked as a teacher in Torrey Pines High School in San Diego, California. In 1983, Carson started to experiment with graphic design and found himself immersed in the artistic and bohemian culture of Southern California. By the late eighties he had developed his signature style, using "dirty" type and non-mainstream photography. He would later be dubbed the "father of grunge."
Carson went on to become the art director of Transworld Skateboarding magazine. Among other things, he was also a professional surfer and in 1989 Carson was qualified as the 8th best surfer in the world. His career as a surfer helped him to direct a surfing magazine, called Beach Culture. This magazine lasted for three years but, through the pages of Beach Culture, Carson made his first significant impact on the world of graphic design and typography with ideas that were called innovative even by those that were not fond of his work. 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.[1] From 1991-1992, Carson worked for Surfer magazine. A stint at How magazine (a trade magazine aimed at designers) followed, and soon Carson launched Ray Gun, a magazine of international standards which had music and lifestyle as its subject. Ray Gun made Carson very well-known and attracted new admirers to his work. In this period, journals 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 Cola, Ray Ban (orbs project), Nike, Microsoft, Budweiser, Giorgio Armani, NBC, American Airlines and Levi Strauss Jeans.

From 1998 on, DCD started an international career and worked for a variety of new clients, including AT&T, British Airways, Kodak, Lycra, Packard Bell, Sony, Suzuki, Toyota, Warner Bros., CNN, Cuervo Gold, Johnson AIDS Foundation, MTV Global, Princo, Lotus Software, Fox TV, Nissan, quiksilver, Intel, Mercedes-Benz, MGM Studios and Nine Inch Nails.
In 2000, Carson opened a new personal studio in Charleston, South Carolina. During this period, Carson became a father, a fact that affected his design and work. In 2004, Carson became the Creative Director of Gibbes Museum of Art in Charleston and designed the special “Exploration” edition of Surfing Magazine and directed a television commercial for UMPQUA Bank in Seattle, Washington.

Carson became interested in a new school of typography and photography-based graphic design, which came from the academic explorations of Edward Fella at Cranbrook Academy of Art and California Institute of the Arts. Carson is largely responsible for popularizing the style, and was an inspiration for a generation of young designers coming of age in the 1990's. His work does not follow "traditional" graphic design standards (as espoused by an older generation of practitioners such as the late Paul Rand). Carson has a part of himself in every piece and he is emotionally attached to his creations. Carson's work is considered an exploration in thoughts and ideas that become "lost" in his (and his target audience's) subconscious. Every piece is saturated with visual information that could easily be considered too heavy for the eye to interpret, but Carson still manages to communicate both the idea and the feeling behind his design. His extensive use of combinations of typographic elements and photography led many designers to completely change their work methods and graphic designers from all around the world base their style on the new “standards” that have distinguished Carson's work. Carson is most famous for his ability to create spreads that even with little content seem to be substantive.

Carson's work is familiar among the generation that grew up with Raygun Magazine and its progeny such as huH and xceler8, and in general, the visually savvy MTV generation, but his work still receives criticism from a generation that refuses to engage with his connotative excesses.

Metadesign or meta-design is an emerging conceptual framework aimed at defining and creating social and technical infrastructures in which new forms of collaborative design can take place. It extends the traditional notion of system design beyond the original development of a system by allowing users to become co-designers. Metadesign is grounded in the basic assumption that future uses and problems cannot be completely anticipated at design time, when a system is developed. Users, at use time, will discover mismatches between their needs and the support that an existing system can provide for them. These mismatches will lead to breakdowns that serve as potential sources of new insights, new knowledge, and new understanding.
A fundamental objective of metadesign is to create socio-technical environments that empower users to engage actively in the continuous development of systems rather than being restricted to the use of existing systems. Metadesign aims at defining and creating not only technical infrastructure but also social infrastructure in which users can participate actively as co-designers to shape and reshape the socio-technical environment through collaboration.

Tomato

Tomato is an art design collective co-founded at the turn of the 1990s by nine people based in London, two of whom are Rick Smith and Karl Hyde of the electronic music group Underworld. Tomato's work includes television and print advertising, corporate identity, art installations, clothing, and of course, design for Underworld's various channels of output. In its existence, Tomato has built an international reputation for working across different media, creating designs for all manner of clients such as Reebok, Adidas and Levi's; and identity for museums and cultural centers

Ronald Searle

Ronald William Fordham Searle (born March 3, 1920) is an English cartoonist. Searle trained at Cambridgeshire College of Arts and Technology, currently known as Anglia Ruskin University. He is the creator of, among other things, St Trinian's School and co-author (with Geoffrey Willans) of the Molesworth tetralogy.

Searle was born in Cambridge, to parents Willie and Nellie (his father was a porter at Cambridge Railway Station), and he started drawing at the age of five and left school at the age of fifteen. When World War II broke out he enlisted and joined the Royal Engineers. He trained for two years in the United Kingdom and, in 1941, published the first St Trinian's cartoon in the magazine Lilliput. In January 1941 he was stationed in Singapore; after it fell to the Japanese he was taken prisoner along with his cousin Tom Fordham Searle. He spent the rest of the war a prisoner, first in Changi Prison and then working on the Siam-Burma Death Railway. While a prisoner he made drawings of camp life which he hid under the mattresses of prisoners suffering from cholera. He was liberated in 1945, and published the surviving drawings in fellow prisoner Russell Braddon's The Naked Island.
He married Kaye Webb in 1947; they had twins, Kate and Johnny. Searle produced an extraordinary volume of work during the 1950s: drawings for Punch, cartoons for the Tribune, the Sunday Express and the News Chronicle, along with more St Trinian's books, Molesworth, as well as travel books in collaboration with the humorist Alex Atkinson, animation for Disney, and advertisements, posters etc. He received recognition for his work, including the National Cartoonist Society Advertising and Illustration Award in 1959 and 1965, the Reuben Award in 1960, their Illustration Award in 1980 and their Advertising Award in 1986 and 1987.

In 1961 he moved to Paris, leaving his family, and later marrying Monica Koenig. In France he worked more on painting and less on cartoons, producing a series of paintings entitled "Anatomies and Decapitations". He continued to work in a broad range of media, and produced books (including his well-known cat books), animations for films, and designs for medals. In 1965, Searle completed the opening, intermission and ending credits for the popular comedy Those Magnificent Men in Their Flying Machines.

His work has had considerable influence on later cartoonists, including Matt Groening and Hilary Knight. In 2006 he was the subject of a BBC documentary on his life and work by Russell Davies.

Kathleen Hale

Kathleen Hale (May 24, 1898, Lanarkshire—January 26, 2000, Bristol) was a British artist, illustrator, and children's author. She is best remembered for her series of books about Orlando the Marmalade Cat.

Kathleen Hale was born in Broughton, Lanarkshire and was brought up in a suburb of Manchester. Her childhood was far from idyllic: her father died when she was very young and she was forced to endure long periods of separation from her mother. This, along with the frustrations of an unexpressed artistic talent, produced a rebellious reaction in the young girl's naturally ebullient nature. However, her talent as an artist was recognised at school by a sympathetic headmistress and she went on to attend art courses in Manchester and Reading.
In 1917, Kathleen moved to London to make a life for herself as an artist. She worked for some time as Augustus John's secretary whilst developing a wide circle of friends in the artistic community, such as Vanessa Bell and Duncan Grant. During the 1920s she earned a living as an illustrator, accepting commissions for book jackets as well as selling her own drawings.
She married Douglas McClean, a young doctor working in medical research. They settled in Hertfordshire where they could bring up their two young sons and entertain their friends. She created Orlando and his world to entertain her children at bedtime. Orlando The Marmalade Cat 'with eyes like twin gooseberries' was one of the classic children's book characters of the 1940s and 1950s. The stories are known for their quirky wit and extravagant illustrations. They combine adventure with friendship and family life. As the creator of Orlando, Kathleen was awarded the OBE in 1976.

Kathleen Hale died on 26 January 2000 at 101 years of age.

Pentagram

Pentagram is a design studio that was founded in 1972 by Alan Fletcher, Theo Crosby, Colin Forbes, Kenneth Grange and Mervyn Kurlansky in Needham Road, West London, UK. They now have offices in New York, San Francisco, Austin and Berlin.

Pentagram does work in graphic design, identity, architecture, interiors and products. They have designed packaging and products for many well known companies, such as Tesco, Boots, 3Com, Swatch, Tiffany & Co, Dell, Netgear, Nike and Timex. They have also developed identities for Citibank and United Airlines, and in 2007 they updated the pop for Saks Fifth Avenue.

Pentagram was hired to redesign the American cable television program, The Daily Show's set and on-screen graphics in 2005.

Saul Bass

From Wikipedia, the free encyclopedia

Saul Bass (May 8, 1920 - April 25, 1996) was a graphic designer and Academy Award-winning filmmaker, but he is best known for his design on animated motion picture title sequences, which is thought of as the best such work ever seen.

During his 40-year career he worked for some of Hollywood's greatest filmmakers, including most notably Alfred Hitchcock, Otto Preminger, 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, and the text racing up and down what eventually becomes a high-angle shot of the United Nations building in Alfred Hitchcock's North by Northwest.

Saul Bass designed the 6th AT&T Bell System logo, that at one point achieved a 93 percent recognition rate in the United States. He also designed the AT&T "globe" logo for AT&T after the break up of the Bell System.

Early career

Saul Bass was born in May 8, 1920, in New York City. He studied at the Art Student's League in Manhattan until attending classes with Gyorgy Kepes at Brooklyn College. He began his time in Hollywood doing print work for film ads, until he collaborated with filmmaker Otto Preminger to design the movie poster for his 1954 film Carmen Jones. Preminger was so impressed with Bass’s work that he asked him to produce the title sequence as well. This was when Bass first saw the opportunity to create something more than a title sequence, but to create something which would ultimately enhance the experience of the audience and contribute to the mood and the theme of the movie within the opening moments. Bass was one of the first to realize upon the creative potential of the opening and closing credits of a film.

Movie title sequences

Bass became notorious in the industry after creating the title sequence for Otto Preminger's The Man with the Golden Arm (1955). The subject of the film was a jazz musician's struggle to overcome his heroin addiction, a taboo subject in the mid 50's. Bass decided to create a controversial title sequence. He chose the arm as the central image, as the arm is a strong image relating to drug addiction. The titles featured an animated, black paper cut-out arm of a heroin addict. As he expected, it caused quite a sensation.

For Alfred Hitchcock, Bass provided effective, memorable title sequences for North by Northwest, Vertigo, working with John Whitney, and Psycho. It was this kind of innovative, revolutionary work that made Bass a revered graphic designer. His later work with Martin Scorsese saw him move away from the optical techniques that he had pioneered and move into computerised titles, from which he produced the title sequence for Casino.

He had been designing title sequences for 40 years before his death in 1996, from films as diverse as Spartacus (film), The Victors (film), It's a Mad, Mad, Mad, Mad World (1963) to Casino (1995). He also designed title sequences for films such as Goodfellas (1990), Doc Hollywood (1991), Cape Fear (1991) and The Age of Innocence (1993), all of which feature new and innovative methods of production and startling graphic design.

Logos and other designs

Bass was responsible for some of the best-remembered, most iconic logos in North America, including both the Bell Telephone logo (1969) and successor AT&T globe (1983). Other well-known designs were *Continental Airlines (1968), Dixie (1969) and *United Way (1972). Later, he would produce logos for a number of Japanese companies as well. He also designed the Student Academy Award for the Academy of Motion Picture Arts and Sciences.^[1]

Selected logos by Saul Bass and respective dates (note that links shown point to articles on the entities themselves, and not necessarily to the logos):

Avery International (unknown) Celanese (1965) Continental Airlines (1968) Dixie (1969) Frontier Airlines (1981) Fuller Paints (unknown) Girl Scouts of the USA (1978) Japan Energy Corporation (1993) Kibun Foods (1964) Kose Cosmetics (1959) Lawry's Foods (1959)

Minami Sports (1991) Minolta (1978) Rockwell International (1968) Security First National Bank (1966) Security Pacific Bank (unknown) United Airlines (1974) United Way (1972) Warner Books (1963) Warner Communications (1972) Wesson Oil (1964) YWCA (1988)

Movie posters

All of Bass's posters had a distinctive style. After his first film project Carmen Jones, he frequently collaborated with Otto Preminger as well as with Alfred Hitchcock and others. His work spanned five decades and inspired numerous other designers.

1950s:

• Carmen Jones (1954)
• The Man With the Golden Arm (1955)
• Edge of the City (1956)
• Storm Center (1956)
• Love in the Afternoon (1957)
• Saint Joan (1957)
• Bonjour Tristesse (1958)
• Vertigo (1958)
• Anatomy of a Murder (1959)
• North by Northwest (1959)
• The Cardinal (1959)

1960s:

• Exodus (1960)
• The Magnificent Seven (design not used) (1960)
• One, Two, Three (1961)
• West Side Story (1961)
• Advise & Consent (1962)
• In Harm's Way (1964)
• Bunny Lake is Missing (1965)
• The Firemen's Ball (1967)
• The Two of Us (1967)
• Why Man Creates (1968)

1970s:

• Such Good Friends (1971)
• Rosebud (1975)
• Bass on Titles (1977)
• Brothers (1977)
• Notes on the Popular Arts (1977)
• The Human Factor (1979)

1980s:

• The Shining (1980)
• Very Happy Alexander (1980)
• The Solar Film (1981)

Unused poster designs

• The Children's Hour / Infamous (1961)
• Nine Hours to Rama (1962)
• Grand Prix (1966)
• Seconds (1966)
• The Fixer (1968)
• The White Crow (unfinished movie) (1990)
• Schindler's List (1993)

He received a unintentionally backhanded tribute in 1995, when Spike Lee's film Clockers was promoted by a poster that was strikingly similar to Bass's 1959 work for Preminger's film Anatomy of a Murder. Sims claimed that it was made as an homage, but Bass regarded it as theft. The cover art for the White Stripes' single The Hardest Button to Button is clearly inspired by the Bass poster for Man With the Golden Arm.

Filmmaker

Bass famously claimed that he directed the highlight of Psycho, the tightly edited shower-murder sequence, though many on set at the time (including star Janet Leigh) dispute this contention.

In 1964, he directed a short film titled The Searching Eye and shown during the 1964 New York World's Fair, coproduced with Sy Wexler. He later made a short documentary film called Why Man Creates, which won an Academy Award in 1968.

In 1974, he made his only feature length film as a director, the visually splendid though little-known^[3] science fiction film Phase IV.

Quotes

"My initial thoughts about what a title can do was to set mood and the prime underlying core of the film's story, to express the story in some metaphorical way. I saw the title as a way of conditioning the audience, so that when the film actually began, viewers would already have an emotional resonance with it."

Peter Saville is famous for the design of record sleeves for Factory Records artists, most notably for Joy Division and New Order.

Influenced by a fellow student, Malcolm Garrett, who had begun designing for the ManchesterBuzzcocks, and by Herbert Spencer's Pioneers of Modern Typography, Saville was inspired by Jan Tschichold, chief propagandist for the New Typography. According to Saville: "Malcolm had a copy of Herbert Spencer's Pioneers of Modern Typography. The one chapter that he hadn't reinterpreted in his own work was the cool, disciplined "New Typography" of Tschichold and its subtlety appealed to me. I found a paralled in it for the New Wave that was evolving out of Punk."^[2] [3] punk group, the

Saville entered the music scene after meeting Tony Wilson, the journalist and television presenter, whom he approached at a Patti Smith show in 1978. This resulted in Wilson commissioning the first Factory Records poster (FAC 1). Saville became a partner of Factory Records along with Wilson, Rob Gretton and Alan Erasmus.

Saville's album design for Joy Division's last album, Closer, released shortly after Ian Curtis's suicide in May 1980, was controversial^{[citation needed]} in its depiction of Christ's body entombed. However, the design pre-dated Curtis' death, a fact which rock magazine the New Musical Express was able to confirm, since it had been displaying proofs of the artwork on its walls for several months.^{[citation needed]}

Saville's output from this period included reappropriation from art and design. Design critic Alice Twemlow wrote: "...in the 1980s... he would directly and irreverently "lift" an image from one genre—art history for example—and recontextualize it in another. A Fantin-Latour "Roses" painting in combination with a color-coded alphabet became the seminal album cover for New Order's Power, Corruption and Lies (1983), for example."^[3]

In the 2002 film 24 Hour Party People based on Tony Wilson and the history of Factory Records, Saville is portrayed by actor Enzo Cilenti. ^[4] His reputation for missing deadlines is comically highlighted in the film.

[edit] Work beyond Factory Records

In 1979, Saville moved from Manchester to London and became art director of the VirginModernism, working for artists such as Roxy Music, Wham and Orchestral Manoeuvres in the Dark. Saville founded the design agency Peter Saville Associates (still designing primarily for musical artists and record labels) before he was invited to join the partner-owned Pentagram. Pentagram was small but one of the most respected design agencies in the world at that time (and still is today). offshoot, Din Disc. He subsequently created a body of work which furthered his refined take on

Saville was forced to leave Pentagram in 1992, as his invoicing was very low (less than £300,000 by a five-man team) and due to his notorious working methods. Saville subsequently left London and moved to Los Angeles and the ad agency Frankfurt Balkind with his longterm collaborator Brett Wickens.^[5] Saville soon returned "penniless" to London.^[6] He ran a corporate identity off-shoot named The Apartment for a German advertising agency Meiré & Meiré from his modernist apartment in Mayfair that also doubled as the London offices of the agency.^[7]Pulp's album This Is Hardcore). The Apartment produced works for clients such as Mandarina Duck and Smart Car. This venture was dismantled in 1999 and Saville moved to offices in Clerkenwell to re-start Peter Saville Associates. (The same apartment is depicted in the record sleeve of

Saville grew in demand as a younger generation of people in advertising and fashion had grown up with his work for Factory Records. He reached a creative and a commercial peak with design consultancy clients such as Adobe, Selfridge's, EMI and Pringle. Other significant commissions came from the field of fashion. Saville's fashion clients include(d) Jil Sander, Martine Sitbon, John Galliano, Yohji Yamamoto, Christian Dior and Stella McCartney. Saville often worked in collaboration with his long time friend, fashion photographer Nick Knight. The two launched an art and fashion website SHOWstudio in November 2000.

[edit] Exhibition, book and soundtrack

Saville's reclaimed status and contribution to graphic design was firmly established when London's Design Museum exhibited his body of work in 2003. Due to his notorious bad luck in following deadlines, he was never approached by the museum for the exhibition's marketing materials. The exhibition, called The Peter Saville Show was open from 23 May 2003 through 14 September 2003. [4] A book by Rick Poynor, Designed by Peter Saville, accompanied the exhibition. The Peter Saville Show Soundtrack for the exhibition was performed and recorded by New Order, and was available to early visitors to the exhibition.

[edit] Sample album covers by Saville

• Joy Division – Unknown Pleasures, 1979
• New Order – Blue Monday, 1983
• New Order – Power, Corruption and Lies, 1983
• New Order – True Faith, 1987
• New Order – Technique, 1989
• Gay Dad – Leisure Noise, 1999
• Pulp – We Love Life, 2001
• New Order – Get Ready, 2001

John Maeda

John Maeda (born 1966 in Seattle, Washington) is a Japanese-American graphic designer, computer scientist, university professor, and author. He is renowned for his work in design and technology, which explores the area where the two fields merge. He is the President-select of Rhode Island School of Design, a position he will assume in June 2008.

Maeda was originally a software engineering student at Massachusetts Institute of TechnologyPaul Rand and Muriel Cooper. Cooper was a director of MIT's Visual Language Workshop. After completing his bachelors and masters degrees at MIT, Maeda would study in Japan at Tsukuba University's Institute of Art and Design to complete his Ph.D. in Design. He currently is the E. Rudge and Nancy Allen Professor of Media Arts & Sciences at MIT and is an associate director of the MIT Media Lab, where he leads the Physical Language Workshop with Henry Holtzman.^[1] (MIT) when he became fascinated with the work of

In 1999, he was named one of the 21 most important people in the 21st century by Esquire. In 2001, he received the National Design Award for Communication Design in the United States and Japan's Mainichi Design Prize.^[2]

Maeda is currently working on SIMPLICITY, a research project to find ways for people to simplify their life in the face of growing complexity. His research has led to the publishing of Laws of Simplicity, his best-selling book to date.

He currently lives with his wife, Kris, and their five daughters, in Lexington, Massachusetts.