Ian Cook

Ian Cook is a contemporary British artist. He became famous for his artwork which is created solely using the unique method of painting using radio-controlled cars, car tyres and toy car wheels. Ian is also known and goes by his company name 'PopbangColour'. Ian has been an avid car enthusiast since childhood and combined his passions of cars, toys and art to create complex and dynamic artworks. Ian is a trained fine artist with a first degree in Fine Art Painting from Winchester School of Art, he has a quirky edge and describes his work as a 'friendly explosion of colour' which captures attention through the unusual method of working and the premise of live performance art at automotive events.Cook's artwork has been featured on Blue Peter, Top Gear, The One Show with Chris Evans and Jessie J and painted with Lewis Hamilton on Sky Sports F1. He has a studio at the Heritage Motor Centre, Warwickshire.

In October 2008, Cook made a portrait of Formula 1 racing driver Lewis Hamilton the size of "two London double-decker buses", which was unveiled by Tower Bridge, London.

In March 2011 Cook featured on the ITV breakfast show Daybreak, where he created a portrait of Adrian Chiles and Christine Bleakley as well as the Daybreak logo

Ian inspired me recently with a three week project for cadburys where we could rebrand a product of cadburys after choosing a product I struggled with how to move forward and what to do no matter what I did I wasn't inspired. then when looking through old sketch books I came across one on cars and I remembered Ian and how he used remote cars to paint cars. taking inspiration from him, (I must admit to playing with a mini remote control car and some chocolate , which didn't lead anywhere but thought anything was better than nothing) I decided to use chocolate to start to crate a poster/packaging (still not sure) of chocolate. cars=cars,chocolate=chocolate.

Anna-Wili

Anna-Wili was born in 1980. The daughter of a puppeteer, she spent her childhood exposed to people making wonderful creatures. Anna-wili has a Bachelor of Fine Arts from the National Art School. She worked for two years for Opera Australia as a scenic artist and has exhibited in small artist run spaces around Sydney. More recently her work was exhibited in the Anthropologie Gallery in New York. 
In late 2010 Anna-Wili created two large paper Pegasus sculptures for Hermès, to be exhibited in the windows of their new Brisbane store. Anna-Wili works mainly by commission. Her sculptures have travelled to the homes of people in Sydney, Melbourne, Paris, London, Toronto and New York.

Anna-Wili's sculptures are stitched together from archival cotton paper. Her works explore the organic qualities and resistance of paper, generating a tension between the complex realism of form and the limitations and economy of the materials used. They represent animal life in an immediate way that conveys the energy, movement and physical character of different creatures. Her aim is to engineer a moment of contact with nature in a way that emphasises both the startling differences and similarities of human and animal forms and consciousness.  Anna's paper sculptures are something I have always been drawn to, she takes natural paper and crates nature itself. Her sculptures when displayed are realistic and breath taking, they don't look exactly like the real animal but convay what they are perfectly. 

I took inspiration from them for our last project where we were asked to create a magazine for Birmingham City, it could be about anything, my group choses to look at old building in between Birmingham's big attractions. After seen theses beautiful sculptures come to life out of paper, I decided for the indent that we had to create to promote the magazine, we should have logos or buildings grow out of a paper map and high light that these places were there even tough not marked on a map.

Peter Chung

Peter Kunshik Chung born April 19 1961 in Seoul, South Korea,  is a Korean American animator. He is best known for his unique style of animation, as the creator and director of Æon Flux, which ran as shorts on MTV's Liquid Television before launching as its own half-hour television series. Chung started his animation career at a small animation studio in Maryland at age 18, working for animator and illustrator Dominic LoPiccolo.   About this time he also started working on the layout and animation on Ralph Bakshi's Fire and Ice before being hired by Disney for feature development. After working for Disney Chung wanted to escape the way almost all animation were shown with a beginning a middle and an end, and the good guy always comes out on top. The Æon Flux TV series banished the 'Disney' style animation story telling and headed in a completely different direction. When I first watched it I was completely lost the story didn't start at the begging of the story line, I felt completely lost though this style encourages you to continue watching the services and try to unscramble the mess you have been left with. What shocked me was when the main character died I was sure she would make it but, no! 

The style of the animation was to try and heighten the senses like the character Æon Flux, thought smell and taste can't be used littarly the animation creates these senses in the sometimes gory drawing. Whilst watching It  there were points I could really imagain the smell of some of the scenes, nothing was flowery or covered as it might and is with 'Disney' animations.

Chung worked on the animation series the Rugrats and he says that Æon Flux was born from him being board with small creatures that have one point of view and have very little movement. Æon Flux is the oposite end of the scale to the Rugrats take that from someone who has watched both. There are simalaraties to me, with the style  of the drawings but i would think that is Chungs style of drawing, and in my option suits both. Æon Flux is acrobatic defing the laws gravity where as the rugrats nothing realy happens and each story ends and another begins without any relation between episodes.

The way Chung went as i would say in a compleatly different direction is somthing I want to try and accomplish in my work, not to make things difficult but hopeful to help them stand out for what is expected 

SO-ME

So-Me, whose real name Lagros Bertrand de Langeron, wasiborn July 4, 1979. So-me grew up in paris sounded by street art and french style posters. Almost all of so-mes work has some form of typography and when looking at it you can clearly see some typography types, one that was pointed out to me was the Disney font, now I am always looking for it. So-me started with street art and progressed to comical practice, his work again reflects his origins. I adore the street style he uses with the mix of well known fonts, the street style gives it a messy appearance, with the well known font types it always encourages me to search the the work for key fonts/logo styles. After being introduced to So-me i have tried to keep unto date with his work I look forward to the pieces that in my opinion are busy/messy/full but are fun rummage thought to find aspects he usually uses. His work keeps your attention and encourages you to look more in depth. It is not just fonts i look for he incorporates self portraits and portraits of people in his design team and other aspects of his work like members of a band he is designing for. the rate at which he works is astonishing and is something that shocked me when told but now TRY to aspire to, being able to walk into a empty gallery/exebition space equipped with a laptop and a portfolio of aspects of past and present work that could possibly be collarged, and in one afternoon fill the gallery with detailed and amazing work is to me at the moment near impossible, what about you?

http://so-me.coolcats.fr 

 So-me is the art director for Ed Banger Records. Ed Banger Records is a French electronic music record label run by Pedro Winter. Founded in 2003 as a division of Headbangers Entertainment by Bussy P who So-me uses his portrait in a good percentage of his newer work.

   So-me continues his theme though the music video for Justice and their song D.A.N.C.E 

look out for the Disney style righting and see if you can spot anymore?

Helmut Krone

Helmut  Krone

 

One of the first things i plan on using from Helmut is his layout because the main product is small rather than large as you would expect. The small layout works with the beetle because it relates to the 'small' title, the beetle is also well known and has clear aspects that are easily recognised. this layout wouldn't work for a new unkown product as well but could be adapted. 

 Helmut Krone  born July 16 1925 died April 12 1996 was an art director and considered to be a pioneer of modern advertising.Krone spent over 30 years at the advertising agency Doyle Dane Bernbach. He was the art director for the popular 1960s campaign for theVolkswagen Beetle, which featured a large unadorned photo of the car with the tiny word "Lemon" underneath it

I will not only try to implement Helmuts layout but use what he said to DDB News 1968

"i feel that there's this imaginary line, and you have to get over that line. As soon as i feel i'm over that line, i quit. i don't go any further. i'll leave a thing without all the ends pulled in as soon as it's over that line"

I have sometimes ruiend work because i feel i have to finish everything off to perfection.

David Carson

David Carson

Carson born September 8 1954 Corpus Christi, Texas.
Carson attended San Diego State University and graduated with a Bachelor of Arts in Sociology. Carson's first contact with graphic design was in 1980 at the University of Arizona during a two week graphics course, taught by Jackson Boelts.In 1983, Carson immersed himself in the artistic and bohemian culture in Southern California where he attended the Oregon College of Commercial Art. That year, he went to Switzerland to attend a three-week workshop in graphic design as part of his degree. The teacher of the workshop, Hans-Rudolf Lutz became carbons first source of inspiration.
In the 80's Carson became the director of two magazines 'Transworld skateboard' and a spin off 'Transworld Snowboarding'. continuing with magazines Carson was hired by publisher Marvin Scott Jarrett to design Ray Gun, an alternative music and lifestyle magazine that debuted in 1992.Ray Gun’s look became such an influential source on the design community that it still impacts the industry today. The magazine pushed the limits of visual design, typography and layout breaking down all the rules and re-assembling them. The result was a chaotic, abstract style that at times was impossible to read, but had a distinct look and a lasting impression. Carson’s influence over the magazine continued even after his departure in 1995.

After Carson left Ray Gun he found his own studio, David Carson Design, in New York City. He started to attract major clients from all over the United States. During the next three years (1995–1998), Carson was doing work for Ray Ban, Nike, Pepsi Cola.... In 1997 He named and designed the first issue of magazine called Blue the adventure lifestyle. David designed the first issue and the first three covers, after which his assistant Christa Smith art directed and designed the magazine until its demise. Carson's cover design for the first issue was selected as one of the "top 40 magazine covers of all time" by the American Society of Magazine Editors