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.

Tomato regards itself as an art and design collective rather than as a design and communication agency.

The collective has offices in New York and Tokyo as well as a film production company, Tomato Films.

Ronarld Searle

Ronald Searle is an English cartoonist. He is the creator of, among other things, St Trinian's School and co-author with Geoffrey Willans of the Molesworth tetralogy.

Kathleen Hale

Kathleen Hale 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 died at the age of 101.

Pentagram

Pentagram have a huge history in the design world, and are still a huge design company today covering most disciplines. Founded by Alan Fletcher and born out of Fletcher, Forbes and Gill, who were the first big British design firm in the 1960's. Pentagram went onto design famous identities for Shell, Reuters, United Airlines, Star Alliance and Citibank. Pentagram's architectural design's are seen at the Harley Davies Museum and Chester Racecourse, books designs which are too numerous to sum up here, editorial design for the Guardian (1988), The New York Times Magazine, Interactive work for United Airlines, The new York Jets and the M.I.T., Interior designs for Virgin Atlantic's Upper Class cabins and the Natural History Musem. Pentagrams trade marks can be seen on Penguin Books, Phaidon Press, Getty Images and Wagamama, and their packaging is seen at Tesco (finest range), Swatch, Boots Shapers Range, and Tiffany's store in NYC. Pentragam have product designed Dell Computers, Nike Watches and Poloroid Cameras and thie signage systems can be seem in Lower Manhatten, Toronto International Airport, San Francisco Zoo, The National Maritime Museum and the New York Botanical Garden.

Fletcher spent the next two decades at Pentagram, a period over which the firm grew from five to eleven partners and opened offices in New York and San Francisco. In the face of this expansion, he maintained the most economic of teams, usually employing between two and five people. This allowed him to combine large-scale identity projects, such as that for the Commercial Bank of Kuwait, with small-scale commissions that offered greater scope for his graphic wit and idiosyncrasy. Fletcher’s portfolio from these years – published in the monograph Beware Wet Paint – is a combination of carefully crafted logos and spontaneous graphic epiphanies. Nothing is heavy handed, and the sketches and doodles demonstrate his ingenuity and charm.
Much of Fletcher’s work from the Pentagram period survives. His logotype for London’s Victoria & Albert Museum, for example, has proved itself fit for its purpose and has thus transcended its era. Crafted from the classic typeface Bodoni, Fletcher’s design creates a single unit from the museum’s nickname – the V&A – by allowing the serif of the ampersand to stand in for the bridge of the A. Although Fletcher would not have used a traditional typeface such as Bodoni in this fashion in the early 1960s, the strength and singularity of the idea behind this design is consistent with his career-long approach. Similarly his logotype for the Institute of Directors, in which the initials of the title are scaled according their relative importance – a medium-sized ‘I’, small ‘O’ and big ‘D’ – appears more conservative than his earlier designs at first glance. Yet, in terms of rigour and restraint, it is utterly in keeping.

His work is so inspiring and so different to what I have seen before; I loved his collage work and his typography logo design work

Fletcher sadly died in September 2006.

eBoy

eBoy is a pixel art group founded in 1998 by Steffen Sauerteig, Svend Smital, Kai Vermehr. Based in Berlin, eBoy's founders collaborate with Peter Stemmler in New York to produce graphic design work for companies.
Their work makes intense use of popular culture and commercial icons, and their style is presented in three-dimensional isometric illustrations filled with robots, cars, guns and girls. Their unique style has gained them a cult following among graphic designers worldwide,as well as a long list of commercial clients.
eBoy has worked with named brands and companies such as Coca-Cola,MTV, VH1, Adidas, and Honda. They have also worked in creating the album cover for Groove Armada's 2007 studio album Soundboy Rock.

My little brother goes on a website called habbohotel.com and the graphics is very similar to this but i have not been able to find out if infact they have created it.

I really like this it reminds me of some sort of wheres wally puzzle wheres theres lots of different things going on in one image and everytime you look at it you notice something different each time.

Saul Bass

Saul Bass was born in New York on May 8th 1920 and studied Graphic Art at Brooklyn College, New York before moving to Los Angeles in 1946.

I like the work of Saul Bass. It reminds me a bit of the collages by Picasso. I like the rough minimalistic cut out feel of his film poster for 'The Man With The Golden Arm'. Preminger called on Bass to work on 'The Man With The Golden Arm', for which Bass created this famous jagged arm design, which is meant to suggest a hardened drug addiction which was the main story of the film.

He also has an impessive website using the same style as this poster at http://www.saulbass.tv/

Saul Bass' body of work distinguishes him as one of the most versatile and innovative graphic designers of the 20th Century. He has talent for creating definitive visual references in the form of film poster campaigns and title sequences.

I also like this poster, the use of a spirograph to evoke a dizy sensation.

Bass directed the short dream sequence in 'Vertigo' as well as working on the poster campaign for the film. This film marked his most complete collaboration with Hitchcock.

In the 1960s, Bass' genius extended to building corporate identities for some of the biggest companies in the USA. He designed the logos for AT&T, Quaker Oats, and Warner Communications, and successfully conveyed the ethos of each of these corporations to the American public.

Peter Saville

Peter Saville is a British graphic designer. Born in Manchester in 1955,

Since his first work for Factory Records in the late 1970s, Peter Savillehas been a pivotal figure in graphic design and style culture. In fashion and art projects as well as in music.

He has created album artwork for acts such as Joy Division, New Order and, later, Suede and Pulp and by the mid-1980s, Saville’s reputation as a designer of music graphics was assured and he was sought-after by mainstream acts such as Wham! and Peter Gabriel.

This is the album cover designed by saville the We Love Life album for Pulp, 2002.

im still not sure if i like this work, i dont dislike it but im not mad on it either.