Peter Fowler

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I am interested in Peter Fowler’s artwork that he created using his iPad. While I am not an illustrator, or particularly keen on illustration, I very much like the graphic nature of the work, a style that is exemplified by the use of digital brushes. Fowler uses the Brushes app that is available for all iOS platforms to create his artwork.

Fowler has a very different style in comparison to my favorite “iPad using” artist Kyle Labert. I had the good fortune to talk with Kyle on a number of occasions while he was working at the Apple Store, Manchester.

Kyle creates very photo realistic artwork – the image of Beyonce is very well known online, and is an excellent example of the contrast between the different styles. I include this photo below as an interesting comparison.


While looking thru Fowler’s website, this image particularly stood out from all the others. I love the difference between the two artists, and while the photographer in me prefers Lambert’s style, so the graphics side of me appreciates this image. I do like the simplicity of the image of the Raven, yet, at the same time, it has some very intrinsic qualities. The app makes this possible by offering layers, thereby meaning that the various shades and strengths that one creates by painting over colors when using traditional methods, so can be recreated on iPad.

photo from Flickr – accessed 25th Feb ’12

This was taken from Fowler’s “Monsterizm” category of work.


I used this app for my project and live drawing for semester 1 – and I really enjoyed it. I far prefer the creativeness that it offers, and the range of brushes and drawing materials on offer far outweigh the choice available for a typically financially limited student. This is made all the more apparent when one can see the enormous difference in style possible when using the same tool.






The Chase

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Ben Casey spent time working in the education industry, developing degree courses for graphic design and lecturing and moderating at various colleges and universities. He became headmaster of the graphic design school at University of Lancashire in 1983. He subsequently helped found the School of Communications Arts in London. He has won numerous creative awards including The Grand Award for Creativity at The New York Festival of Advertising & Print.

Since his involvement in the design of Deepdale Stadium and the inception of the National Football Museum and its collection, Casey have continued his interest in the role of design in the cultural development of our smaller cities and larger towns. He has initiated a series of ongoing projects based in the School of Design,in Preston University to investigate the potential of creativity and design intervention in the public domain. They aim to create innovative design models that can support Preston to become a modern micro-city with the potential to maintain its own identity in the future, particularly in the light of ongoing urban renaissance in major provincial cities.

Casey has also chaired and directed judging juries for all the major UK creative awards and many international ones.

Casey has had invites to the boards and committees of some of the UKs most influential and respected design advisory panels. These are all voluntary positions, with a significant educational remit. These include the City of Manchester’s Creative Panel and the Chairmanship of the British Design & Art Director’s Club’s Education Group.

The Chase was set up in Manchester in 1986 to offer a credible and regional alternative to London’s most respected agencies. It was set up with the following belief –

“There was once an old Indian craftsman who carved elephants from blocks of timber. When asked how he did it, he would simply reply, “I just cut away the wood that doesn’t look like an elephant”.

Since its birth, the company has expanded significantly and now has offices in London & Preston and has garnered an outstanding reputation for its creative excellence.

in 2004, The Chase was ranked 2nd in the UK’s most creative design agencies, and is now one of an elite band of companies to have had work accepted by D&AD in each of its 18 years of existence.

This is one of the branding campaigns The Chase designed for Smile. It breaks the traditional rules of branding in that it is an image that can be read, because it offers an easily identifiable logo and text. I think it is an interesting design, and certainly an original design. Personally, I do not think the changing images do justice to the overall design; I think the pixelated and blurred image does photographic/painting image is out of place given the context of the others. Nevertheless, They Chase use a lot of vivid colors in their designs, and, more often than not, use a straightforward message.

Ben Casey. (2011). About. Available: Last accessed 24th Feb 2012.

Simon Hawkesworth. (2011). Professor Ben Casey . Available: Last accessed 24th Feb 2012.


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Hi-reS! is an award winning design agency in London. It has won many various awards throughout its history. It offers a unique type of design in the way it goes about it. The had a stro g background in fine art, graphic design, oduct design, film and music. They combined all this expertise into one area they could concentrate on and started experimenting with Adobe Flash technology. Their first project after this transition was the This was a self – initiated online project – and garnered word – wide attention, and kick started the company into a global brand. Hi-reS! have since worked for numerous global brands, the most notable of which was the website for the movie Requiem of a Dream by director Darron Afronsky – with whom they still work with today. The company continues to receive the highest quality accolade year after year. Hi-reS! works with some of the most notable brands in current history, including Dolce and Gabbana, Chanel and The Economist.

With more than a decade in the business, Hi-reS! continue to push the boat out further and create inspiring works for its customers.



photo reference

Michael Gondry

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After reaching the top of his profession as an experimental music video and commercial director, Michel Gondry made the natural transition to feature films, only to suffer a critical and financial failure with his first crack, “Human Nature” (2001). Prior to making his feature debut, Gondry turned his unique visual perspective to good use with the music video for Björk’s popular and award-winning single, “Human Behavior” (1993), which helped catapult the Icelander to stardom while breaking new ground in the medium. He also became an innovator in the commercial world, especially with a Levi’s ad called “Drugstore” (1994), which, according to the Guinness Book of World Records, became the most award-winning ad of all time. Following a highly successful decade of making videos and shooting commercials, Gondry was introduced to screenwriter Charlie Kaufman and helmed the interesting, but ultimately disconnected “Human Nature.” But the pair had much greater success with their next collaboration, “Eternal Sunshine of the Spotless Mind” (2004), which won them the Academy Award for Best Original Screenplay. Following a surprise turn to documentaries with “Dave Chappelle’s Block Party” (2006) and the winsome fantasy “The Science of Sleep” (2006), the director was hired to make his first blockbuster movie, “The Green Hornet” (2011), proving that even creatively risk-taking directors like Gondry had their place in the Hollywood factory.

Born on Jan. 1, 1964 in Versailles, France, Gondry was exposed to the arts early in life. His grandfather, Constant Martin, invented the Clavioline, one of the earliest keyboard synthesizers, while his father was a computer programmer and his mother an accomplished pianist. Inspired to become either a painter or inventor, he stumbled onto photography at 12 years old and even made a prototype for a cartoon machine using a Meccano construction set. Also a fine illustrator, Gondry would amuse his schoolmates by teaching them how to draw naked women. Meanwhile, after finishing his primary and secondary studies, he attended art school to pursue graphic design. At 22, Gondry discovered filmmaking when he bought a camera at a flea market and began making short films to counteract the boredom of working at a print shop. Turning to music, he played drums for the mildly popular French pop group, Oui Oui, which featured his secondary school chum, Étienne Charry, on guitar and vocals. They released their first album, Chacun Tout le Monde (1989) and followed with their second, Formidable, only to have both go out of print following the band’s split in 1992. Because Gondry shot animated videos for his band’s music, it was only a short leap for him to begin directing music videos for other artists.

In 1993, he directed “Human Behavior” for Icelandic superstar Björk’s first solo single. Inspired by Goldilocks and the Three Bears and Yuri Norstein’s Soviet Union-era animated film “Hedgehog in the Fog” (1975), Gondry created a groundbreaking video that helped catapult Björk to stardom in the United States, while earning numerous award nominations. He also made videos for Lenny Kravitz’s “Believe” (1993), The Rolling Stones’ take on Bob Dylan’s “Like a Rolling Stone” (1995) and Sheryl Crow’s “A Change Would Do You Good” (1997). Gondry’s wide-ranging taste in music stretched to such acts as The Chemical Brothers, Radiohead and Wyclef Jean, which allowed him to explore new techniques, including the use of bullet time technology made popular by “The Matrix” (1999). Branching out into commercials, Gondry broke new ground with a spot for Levi’s called “Drugstore” (1994), a 90-second ad that featured a black-and-white Depression-era storyline with a thumping techno-pop score over it. The ad won the Lion D’or at Cannes and was listed in the Guinness Book of World Records as being the most award-winning commercial of all time.

Gondry was at the top of his profession while shooting commercials for corporate clients, including Volvo, Citibank and Nike, and even had enough carte blanche to refuse work for products he abhorred, like the U.S. Arm or cigarette companies. Eventually Hollywood came calling, though he had trouble at first finding a script he liked; the ones he read were either terrible or boring. But when fellow director Spike Jonze showed him the script for “Being John Malkovich” (1999), Gondry was elated, but also saddened that his friend had the chance to direct it instead of him. The script’s writer, Charlie Kaufman, later handed him the pages for “Human Nature” (2001), which Gondry liked immediately. A Pygmalion satire of human behavior, the film starred Tim Robbins as a reclusive 35-year-old scientist and Patricia Arquette as a woman with a strange hormonal condition which causes thick hair to grow all over her body and has kept her out of civilization. Though given decent reviews, “Human Nature” was unable to capture the movie-going public’s interest, leading to a miserable performance at the box office.

With his second film, “Eternal Sunshine of the Spotless Mind” (2004), Gondry struck critical and box office gold. A cyclonic journey into the mind of a shiftless slacker (Jim Carrey) who undergoes a procedure to erase all memories of his former girlfriend (Kate Winslet) after she did the same to him, the film’s wild storyline could easily have run amok. Instead, Gondry and Kaufman wrangled the story and fashioned a warm, humorous and tightly structured story about two people who learn not to give up on love. Critical kudos rained down upon Gondry and Kaufman, as “Eternal Sunshine” became one of the most acclaimed movies that year. Both director and writer earned several prominent awards, including an Academy Award for Best Original Screenplay. Meanwhile, Gondry directed his third feature – and his first without the heavy-hand of Kaufman – “Science of Sleep” (2006), a stylized romantic fantasy about an eccentric young man (Gael García Bernal), who develops an ability to control his own dreams, only to find himself held hostage by the manifestations he created.

Even though he had gained entry into Hollywood, Gondry continued to make music videos for such artists as The White Stripes, Beck and Paul McCartney. Back in the feature world, he directed “Dave Chappelle’s Block Party” (2006), a documentary that featured the genesis and eventual culmination of the Comedy Central comedian’s idea to throw a free and unpublicized hip-hop concert in the Clinton Hills neighborhood of Brooklyn, NY. Gondry was invited by Chappelle to direct both the concert and the workings behind the scene, which opened the doors to an intimate portrait of the comedian. He next directed “Be Kind Rewind” (2008), a comedy of errors about a video store clerk (Mos Def) and his best friend (Jack Black), who recreate classic movies in order to replace all the videotapes that have been accidentally erased during the failed sabotage of a local power plant. After directing the 2009 episode “Unnatural Love” for “Flight of the Concords” (HBO, 2007-09), Gondry directed the long-awaited comic book adaptation of “The Green Hornet” (2011), which he first attempted in the late-1990s with writer Edward Neumeier.


Gondry has had an illustrious career, and has, arguably, left no stone unturned in his armory of past work. Hs is particularly noted for his inventive and creative visual style, and the manipulation of ” Mise en scene” , a French expression used to describe the design aspects of a theater or movie production. I think that, with Gondry having a massive list of music videos to his name, this kick started hist creativity. Music videos are traditionally very vibrant and unorthodox; they have to keep the viewer enthralled in the experience. Typically, the viewer will already have listened to the soundtrack, so the incentive to watch the music video is for the artist. Music videos also provide a large percentage of advertising revenue. Most labels will have a product placement deal with a company, in which the actors in the video will use to great extent.

Gondry was also at the top of his game while working in the advertising industry. He regularly shot commercials for illustrious clients such as Volvo & Nike. He even had enough carte blanche to refuse companies whose products he abhorred – such as commercials for cigarettes. Eventually, he was sought out by Hollywood, but he had difficulty finding a scripts he actually liked or didn’t find boring.

Michael Gondry

Meta Design

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MetaDesign is a leading international branding and design firm. We elevate the perception of your brand by designing brand experiences that communicate the identity of your company and its products to your customers, whether in the physical, print or digital worlds

For me, MetaDesign mean the same to the design world as Apple means to the technology world.

I had never heard of Meta prior to researching for my blog project, however, once I delved into their history and company profile, I was immediately intrigued. They have a massive corporate base, and even just scratching the surface and looking at the the recent projects had me hooked.

MetaDesign control the entire corporate branding agency for Volkswagen. They reworked the corporate design in 2008 – and once that was completed, set about step by step, reworking not only the advertising and branding design, but the corporate, product and dealership literature as well. They even gave Volkswagen dealerships a new look as well.

MetaDesign were involved with premium products such as the Phaeton – Volkswagens premium saloon. MetaDesign worked on the architectural features of the showrooms. The coordinated the lighting, interior design and materials to compliment the design of the vehicle. It has been designed almost like a show – the customer can enjoy a cup of coffee while viewing the vehicles on display from a luxuriously finished wood paneled back stage area. Three of these showrooms have already been opened in China, with more scheduled throughout the world.

Image from Volkswagen Phaeton

This attention to detail is synonymous with design – in that is is all about the end product. This is perfectly demonstrated with the new “Phaeton Lounge” experience that Volkswagen offers its prospective customers.

Land Rover is the other manufacturer I can think of that offers customers a closer look at their models. For their show rooms, that often have an out door area in which one can view the vehicles in off road positions, and delve deeper into their off road credential.

Meta Design

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MetaDesign is an influential global design consultancy founded by Erik Spiekermann, Uli Mayer-Johanssen and Hans Ch. Krüger. The business has offices in Berlin, Beijing, Hamburg,Düsseldorf, Zurich and San Francisco and more than 330 employees.

Spiekermann founded the company in 1979, and went through two iterations of the business before the most successful period when he partnered up with Hans C. Krueger, a businessman with a background in banking, and Uli Mayer-Johanssen, a graphic designer and stage designer in 1990.

Initially the company had offices in Berlin overlooking the Berlin Wall at Potsdamer Platz and was serendipitously in the right place, with the right people at the right time to take full advantage of the reunification of Germany and the City of Berlin in particular. Today the company resides in a 1920s landmark industrial building in Berlin-Charlottenburg. MetaDesign’s principal reputation was gleaned through engagements for the Berlin Transit System (BVG) in a project that became a figurehead for the reunification of the city. Further landmark engagements followed for Volkswagen, Audi, Düsseldorf Airport Authority and Springer Verlag, with MetaDesign providing corporate identity solutions for the first wave of internet adopters. The Meta typeface, designed by Spiekermann originally for the German Bundespost, was by this time also becoming ubiquitous.

In 1992, MetaDesign established the San Francisco office, around Bill Hill (IDEO) and Terry Irwin (Landor Associates), and then in 1995 the London office around Tim Fendley (now Founder of Applied Information Group), and Robin Richmond (now founder Immersive Projects), formerly Union Design. Meta’s San Francisco office grew a reputation for client relationships with Silicon Valley technology companies and developed innovative interactive teaching media including ViZability, IDEO’s first web site, publishing systems for Ernst & Young and McGraw Hill and specialist event publicity for Fuse 98. The MetaDesign London office specialized in branding for the digital arena working for clients including The Economist Group, Ferrari, and European identities for Lexus and Škoda Auto. The company also developed the Bristol Legible City initiative for The City of Bristol. In 1998 the San Francisco office brought in Stan Leopard as principal and chairman. In 1999, the London office left the group and joined Icon Medialab, who then merged with Michiel Mol’s Lost Boys in 2002. In 2001, Lost Boys had also purchased the majority of the shares of MetaDesign in Berlin. By 2001 founder Spiekermann had left to run his own projects forming the United Designers Network in 2002-3 which formerly became rebranded as Spiekermann Associates in 2007. MetaDesign Suisse was founded in Zurich, Switzerland, in 2000, with partners Dr. Alexander Haldemann and Bruno Schmidt.

The MetaDesign AG with co-founder Uli Mayer-Johanssen as managing director and CDO has opened offices in Beijing, Düsseldorf and Hamburg in 2008 and is now employing more than 330 people. It is now the third largest European design agency for corporate design, branding and corporate identity.v


Meta Design

Ronald Seale

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Ronald Searle was born in Cambridge in 1920 and was educated there at the Cambridge School of Art. On the outbreak of the Second World War he left his studies to serve in the Royal Engineers and in 1942 was captured by the Japanese at Singapore, then held by them for three and a half years. He is a hugely successful graphic artist and pictorial satirist. As well as his collaboration with Geoffrey Willans on the Molesworth books and his invention of St Trinians, his work has been the subject of numerous exhibitions across the world and appears in several major American and European collections. He moved to Paris in 1961 and then, in 1975, to a remote village in Haute-Provence. He died on December 30th, 2011.


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