Radio (Agency)
http://www.madebyradio.com/19145/work
Radio keeps things simple and original. They place emphasis on maintaining high levels of craft across all their work, with a willingness to keep evolving their style. Working out of Cape Town, Radio specializes in illustration, design, type and iconography, servicing advertising agencies and its own clients.
Contact us
6 Mir Mar Centre
Cape Town 7441
South Africa
Tel +27 21 553 1333
Email info@madebyradio.com
Follow us on twitter @madebyradio
South Africa
Tel +27 21 553 1333
Email info@madebyradio.com
Follow us on twitter @madebyradio
http://cargocollective.com/peters#1307386/Artcrank-2011
Want to know more about him?
E : allan at allanpeters dot com
Linkedin
Behance
Twitter
Bacon Takedown
Birth Announcement Cards
Artcrank 2011
Barnbrook
Barnbrook
Studio 12
10-11 Archer Street
London W1D 7AZ
United Kingdom
Tel: +44 (0)20 7287 3848
Enquiries: us@barnbrook.net
New Business: elle@barnbrook.net
Film Work: film@barnbrook.net
Internships: portfolio@barnbrook.net
Barnbrook is one of the most well-known creative studios in Britain.
Our team of designers specialise in producing innovative books,corporate identities, CD covers, custom fonts, websites and magazines. Our clients range from international museums to charitable organisations. We have worked and won many awards in the area ofmotion graphics working for clients such as the BBC and Grey Advertising alongside producing self-initiated projects. Barnbrook also releases original fonts through VirusFonts that are used extensively worldwide. Our contribution to graphic design was recognised by a major exhibition at the Design Museum, London in 2007.
Shown here is a small selection of our extensive portfolio,
if you would like to see more please contact us.
Young British Art Book
Want to know more about him?
E : allan at allanpeters dot com
Behance
Bacon Takedown
Birth Announcement Cards
Artcrank 2011
Barnbrook
Barnbrook
Studio 12
10-11 Archer Street
London W1D 7AZ
United Kingdom
Tel: +44 (0)20 7287 3848
Enquiries: us@barnbrook.net
New Business: elle@barnbrook.net
Film Work: film@barnbrook.net
Internships: portfolio@barnbrook.net
Barnbrook is one of the most well-known creative studios in Britain.
Our team of designers specialise in producing innovative books,corporate identities, CD covers, custom fonts, websites and magazines. Our clients range from international museums to charitable organisations. We have worked and won many awards in the area ofmotion graphics working for clients such as the BBC and Grey Advertising alongside producing self-initiated projects. Barnbrook also releases original fonts through VirusFonts that are used extensively worldwide. Our contribution to graphic design was recognised by a major exhibition at the Design Museum, London in 2007.
Shown here is a small selection of our extensive portfolio,
if you would like to see more please contact us.
Young British Art Book
Tomorrows Truth
Barbara Kruger
Barbara Kruger
Barbara Kruger was born in Newark, New Jersey, in 1945. After attending Syracuse University, theSchool 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 Art, The School of the Art Institute of Chicago, and the University of California, Berkeley. She lives in New York and Los Angeles.
Website - http://www.barbarakruger.com/
Contact - info@barbarakruger.com
Jessica Hische
Website - http://jessicahische.is/awesome/
She has a pretty cool way to write her a email on her website by filling in words...
Interesting Q and A on her website too...
Describe your design in one sentence.
“Jessica Hische’s work combines equal parts design, typography, illustration, brown sugar, and heavy cream.” (Thanks, Jason from the Heads of State, for perfectly summarizing my work!)
What inspired you to get into design?
I always knew I wanted to go to art school, in fact I transferred high schools in order to take more art classes. When I applied to school I thought I would be a painter or a sculptor—anything but a graphic designer—mostly because I didn’t really know what graphic design was. When I was in college I took a lot of electives in different art areas, always thinking I would end up majoring in that discipline. I loved glass, I loved wood-working, I loved painting/drawing, then I took a design class. I really loved the idea of having a problem to solve, of having limits and of having to communicate clearly what I (or the client) was trying to say. I liked how in design you were solving problems, that there were rules to follow, that the point was for people to GET what you were trying to communicate (unlike in fine art, where if people get it right away, you’re probably doing something wrong). I would procrastinate from all of my other work by working on design projects (I think a good way to figure out your passions are to look at what you do when you’re procrastinating from everything else). When there was an assignment for a single poster I would do five. I just couldn’t get enough of it.
How do you work? What is your process?
For illustration work and lettering work, I always start with pencil sketches—not because it is my preferred way to work, but because clients need to approve something before I can move to final. My pencils used to be quite rough but because I’ve been doing more and more lettering work for advertising clients, they’ve become more refined. After a sketch is approved, I jump into illustrator, usually not tracing my sketch for the final. I believe that the translation from sketch to final without tracing helps me correct my mistakes as I go. I idealize like how you would if you were drawing a person from memory versus from real life. I don’t use a lot of fancy tricks in illustrator, mostly just the pen tool. After a few years of working intensely with the program it has become more natural for me to work on the computer than by hand. I don’t use a wacom tablet (I hold a pen like a child holds a crayon (in a tight fist that will only catalyze the carpal tunnel)), just a mouse or the trackpad on my laptop. I usually work with the grid on at first, starting with a single weight line and then adding thickness or ornament later depending on what I’m trying to achieve. I make general decisions at the beginning to figure out what kind of lettering I want to draw (a script? slanted or upright? thick or thin? sans serif? retro feeling or more modern feeling?) and then add decoration / ornamentation after the “skeleton” is drawn.
What are some of your inspirations?
I worked for Louise Fili for two and a half years, she has definitely had the biggest impact on my work. Her collection of random vintage type ephemera is astounding. I read design blogs and look at images online a lot. I love vintage packaging. I like silly roll–your–eyes–ish jokes. I love talking to strangers. I love interior design and vintage/retro furniture design. I’m inspired by other designers and illustrators all the time, by their motivation and by their great work.
How do you choose your colors?
If you saw my apartment, you would see that all the colors I use in my work are really just colors that I like. I love warm colors. I don’t really like the color purple. I am coming around to blue (aside from warmish robin’s egg blues which I LOVE). If I could put red/orange in everything I make I would.
Do you think that people/clients value the craft of creating letters?
At first some don’t, they try to get the effect they want by manipulating fonts themselves, but in the end you can only get true customization by hiring someone like myself to make it really work perfectly for the project. Sometimes after clients try to do it themselves, they’ll hire me and tell me to work from what they have but make it “better” or “make it work”.
Interesting Q and A on her website too...
Describe your design in one sentence.
“Jessica Hische’s work combines equal parts design, typography, illustration, brown sugar, and heavy cream.” (Thanks, Jason from the Heads of State, for perfectly summarizing my work!)
What inspired you to get into design?
I always knew I wanted to go to art school, in fact I transferred high schools in order to take more art classes. When I applied to school I thought I would be a painter or a sculptor—anything but a graphic designer—mostly because I didn’t really know what graphic design was. When I was in college I took a lot of electives in different art areas, always thinking I would end up majoring in that discipline. I loved glass, I loved wood-working, I loved painting/drawing, then I took a design class. I really loved the idea of having a problem to solve, of having limits and of having to communicate clearly what I (or the client) was trying to say. I liked how in design you were solving problems, that there were rules to follow, that the point was for people to GET what you were trying to communicate (unlike in fine art, where if people get it right away, you’re probably doing something wrong). I would procrastinate from all of my other work by working on design projects (I think a good way to figure out your passions are to look at what you do when you’re procrastinating from everything else). When there was an assignment for a single poster I would do five. I just couldn’t get enough of it.
How do you work? What is your process?
For illustration work and lettering work, I always start with pencil sketches—not because it is my preferred way to work, but because clients need to approve something before I can move to final. My pencils used to be quite rough but because I’ve been doing more and more lettering work for advertising clients, they’ve become more refined. After a sketch is approved, I jump into illustrator, usually not tracing my sketch for the final. I believe that the translation from sketch to final without tracing helps me correct my mistakes as I go. I idealize like how you would if you were drawing a person from memory versus from real life. I don’t use a lot of fancy tricks in illustrator, mostly just the pen tool. After a few years of working intensely with the program it has become more natural for me to work on the computer than by hand. I don’t use a wacom tablet (I hold a pen like a child holds a crayon (in a tight fist that will only catalyze the carpal tunnel)), just a mouse or the trackpad on my laptop. I usually work with the grid on at first, starting with a single weight line and then adding thickness or ornament later depending on what I’m trying to achieve. I make general decisions at the beginning to figure out what kind of lettering I want to draw (a script? slanted or upright? thick or thin? sans serif? retro feeling or more modern feeling?) and then add decoration / ornamentation after the “skeleton” is drawn.
What are some of your inspirations?
I worked for Louise Fili for two and a half years, she has definitely had the biggest impact on my work. Her collection of random vintage type ephemera is astounding. I read design blogs and look at images online a lot. I love vintage packaging. I like silly roll–your–eyes–ish jokes. I love talking to strangers. I love interior design and vintage/retro furniture design. I’m inspired by other designers and illustrators all the time, by their motivation and by their great work.
How do you choose your colors?
If you saw my apartment, you would see that all the colors I use in my work are really just colors that I like. I love warm colors. I don’t really like the color purple. I am coming around to blue (aside from warmish robin’s egg blues which I LOVE). If I could put red/orange in everything I make I would.
Do you think that people/clients value the craft of creating letters?
At first some don’t, they try to get the effect they want by manipulating fonts themselves, but in the end you can only get true customization by hiring someone like myself to make it really work perfectly for the project. Sometimes after clients try to do it themselves, they’ll hire me and tell me to work from what they have but make it “better” or “make it work”.
Jennifer Mehigan
Website - http://www.oftheholyblood.com
b. 1988
Currently living and working in Sydney, Australia.
Available for private commissions.
Always happy to collaborate, email, swap prints or zines in the post, whatever.
EDUCATION:
2015 - BFA (Fine Art / Art Education) / COFA
2011 - Diploma of Graphic Design / CATC
AFFILIATIONS:
Cavity Zine
Civil Collective
Xhin
The Document
Currently living and working in Sydney, Australia.
Available for private commissions.
Always happy to collaborate, email, swap prints or zines in the post, whatever.
EDUCATION:
2015 - BFA (Fine Art / Art Education) / COFA
2011 - Diploma of Graphic Design / CATC
AFFILIATIONS:
Cavity Zine
Civil Collective
Xhin
The Document
jen@whitewallsstudio.com
+61 (0) 404 310 266
+61 (0) 404 310 266
Christian Conlh
website - http://cargocollective.com/christianconlh
Christian Pardini aka CHRISTIANCONLH
Descendant of outlaws and revolutionaries_
b. 1987, Pietrasanta, IT
Lives and works in Capezzano Pianore, IT
Available for freelance work.
Mail me
[Complete PORTFOLIO and CV available on request]
WORK FEATURED BY
ColorCubic Designspiration YYellow
bumbumbum iGNANT Rainbow Replica
Art/Union Aqua-Velvet Atomic United
We And The Color C H E C K Y O U R H E A D
Boum Bang WHITECU.BE FFFFOUND!
Crayon Magazine REFORM
Pozzanghere together
Go-annie-Go IDwork
Taste Visva
ZAMENHOF v-om
INTERVIEWS
Crayon Magazine
PUBLICATIONS
Issue#1, Love is the Law, London, UK, 2012
Echoes of the Future, Gestalten, Berlin, DE, 2012
Native Empire, edited by Tony Farfalla, New York, USA, 2012
EXHIBITIONS & EVENTS
BARCELONA SHOWCASE Barcelona, Spain - 2012
ZAMENHOF CINEMA Solo Exhibition (Cinema Arsenale) Pisa, Italy - 2012
THE EASTPAK LOFT @ ELITA FESTIVAL (Teatro Franco Parenti) Milan, Italy - 2012
V I A U M B R I A 1 8 Pietrasanta, Italy - 2012
Descendant of outlaws and revolutionaries_
b. 1987, Pietrasanta, IT
Lives and works in Capezzano Pianore, IT
Available for freelance work.
Mail me
[Complete PORTFOLIO and CV available on request]
WORK FEATURED BY
ColorCubic Designspiration YYellow
bumbumbum iGNANT Rainbow Replica
Art/Union Aqua-Velvet Atomic United
We And The Color C H E C K Y O U R H E A D
Boum Bang WHITECU.BE FFFFOUND!
Crayon Magazine REFORM
Pozzanghere together
Go-annie-Go IDwork
Taste Visva
ZAMENHOF v-om
INTERVIEWS
Crayon Magazine
PUBLICATIONS
Issue#1, Love is the Law, London, UK, 2012
Echoes of the Future, Gestalten, Berlin, DE, 2012
Native Empire, edited by Tony Farfalla, New York, USA, 2012
EXHIBITIONS & EVENTS
BARCELONA SHOWCASE Barcelona, Spain - 2012
ZAMENHOF CINEMA Solo Exhibition (Cinema Arsenale) Pisa, Italy - 2012
THE EASTPAK LOFT @ ELITA FESTIVAL (Teatro Franco Parenti) Milan, Italy - 2012
V I A U M B R I A 1 8 Pietrasanta, Italy - 2012
Web - http://bradwoodarddesign.com/
Brad Woodard is a designer and illustrator, with a BFA degree in graphic design. Though he has a hometown of Seattle, Washington, he currently lives in Orange County, California with his wife, little boy, and hyperactive puppy. There he works as a designer for Column Five Media, and contributing writer for Visual News.
If you want to chat, or start a project with Brad, feel free to contact him at:
brad@bradwoodarddesign.com
Find him elsewhere on:
Twitter / Linkedin / Dribbble
Matt Chase
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At six years old, I stepped outside to the sight of a man doing the most exciting thing I'd ever seen: he was riding the back of a trash truck. No door. No seatbelt. Hell, no seat. A man of the people. Cool. Calm. Dirty. I ran inside, enlightened, and exclaimed to my mother that the advent of my post-adolescent aspirations was ripening to the tune of mashing aluminum. Well. I suppose that's not entirely true. I was six and lacking a vocabulary; I also had a weird speech thing (it's gone now, thank you) so it came out more like "I wann do dat." She set me aside and said, "son, if you grow up to be a trash worker, you'll—" I stopped listening at "trash worker," as I'd already mentally tagged this man's profession as "dude who tames wheeled robots and proceeds to ride them." My eagerness to drift around town with no regard for the legalities of seatbelt laws carried me until approximately May of 2010, at which point I was denied employment at Waste Management upon slamming a Fine Arts degree on the desk and exclaiming, "let me tame wheeled robots, dammit." The clerk, Bernice, snarled a toothless smile, puffed the last half of a Marlboro in my face and said, "we don't need no drawers." Confused and ashamed, I moved to Boulder, CO to market carrots and later vacated to Washington, DC, where I presently wage war at Design Army.
A Long Story Made Short
-
Matt Chase is a designer & illustrator living and working in Washington, DC. If you have a fun project you'd like to discuss, drop him a line and he'll get right back to you.
Awarded
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AIGA50: Selected
SPD 47: Silver Medal, Medal Finalist
DC Ad Club: Gold (5x), Judges' Choice
Dallas Society of Visual Communication Student Show: Judges' Choice
Kindly Spoken Of
-
Fast Company
The Atlantic Wire
DesignWorkLife
Friends
-
Design Army
Gallery1988
Tad Carpenter
Jordan Jacobson
Lucas Badger
Eric Rohter
Jackie Lay
Michael Selby
Enemies
-
القاعدة
The Balrog Of Morgoth
-
If you are considering hiring me to build your website, please click below
Below
No pornography links or Cialis offers, please; I can find these things on my own.
Say Hi!
Resume
Here
I most likely do not have a cell phone.
Matthew The Horse
I provide a graphic facilitation service for meetings, conferences and seminars. If you are interested in this, please do get in touch.
Client list/
The AA, The Economist, The Guardian, Converse, UsTwo, Pulled apart by horses, Nobrow, Little White Lies, Computer Arts, Anorak, Huck, Nature Magazine, Plan B Magazine, Institute of Contemporary Arts, We are what we do, Ride Strider, Ride Magazine,
Featured/
Creative Review, Computer Arts, Grafik Magazine, Itsnicethat.com, Illustrated Ape, Dazed Digital
Exhibited/
Shelf life- Bodhi Gallery, London 2008
Horse tears- Dream bags Jaguar Shoes, London 2008
Blisters on my fingers- London Print Club 2008
Los Buenos Munecos Viven Para Siempre- Miscelanea, Barcelona, 2009
The Joyful Bewhilderment- London, Edinburgh, Bristol 2009
Art Bastard- Nice Nice, Hannover 2009
Get involved posters- Concrete hermit, London 2009
Cyclic! -Gallery Chiellerie, Amsterdam 2009
Draft- Leeds 2009
Dooom 3.0, Nobrow Gallery, London 2010
Pick Me up, Somerset House, London 2011
Into the woods, Start the bus Gallery, Bristol, 2011
100 Euro show, Weiden & Kennedy, Amsterdam, 2011
Colossal Spaces, Secret location, 2011
Loop Arts Fair, Leeds, 2011
Pick Me Up, Somerset House, London, 2012
Illustration Biannual, Haarlem, 2012
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