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62 excerpts on the topic “References”
Ada Sokół
[…] One of my first editorials was with Novembre magazine, and there was clear visual communication, visual style; I was amazed by this. […]
Ada Sokół
[…] I grew up being influenced by architects such as Zaha Hadid or fashion designers like Iris Van Herpen, so I’ve always been attracted to those organic, beautiful shapes. That’s how it worked. […]
Ada Sokół
[…] For instance, I love Elsa Peretti; she was such a role model as a female designer. Right now, I also look very often at environmental activists. […]
Marc Armand
[…] M/M, Antoine + Manuel, Bernard Baissait, Catherine Zask, Anette Lenz, and Christophe Jacquet in the big silkscreen poster period. […]
Marc Armand
[…] As for my earliest references, they’re all music‑related images. Peter Saville, Neville Brody, Designers Republic in particular (…) In terms of influences there are also all those 1970s and 1980s Japanese designers who gravitated around Issey Miyake: Tadanori Yokoo who made many posters and magazine covers, Nagai Kazumasa, and Mitsuo Katsui, whose use of shading is amazing (…) Other major influences include Memphis and Alchimia, and Italian postmodernism in general. Mainly Alessandro Mendini. […]
Marc Armand
[…] As for graphics and typography, I have a deep fascination for Emigre Fonts and in the same vein, Jonathan Barnbrook, but also for Dutch, German, and Russian design, for Studio Dumbar, Cyan, and Ostengruppe… […]
Marc Armand
[…] I’ve also been influenced by a host of fashion designers including Bernhard Willhelm, Walter Van Beirendonck, Jean-Paul Lespagnard, and Manish Arora. […]
Marc Armand
[…] M/M for example, continue to do what they’ve always done, yet it’s always new. The way they managed to remain true to their creative selves while running a successful business is impressive. Base Design is another example, impressive in all respects (…) Same for Studio Dumbar, amazing in terms of longevity and unerring quality. Mirko Borsche is a great inspiration too. I love the way he never deviates from the mad angle that permeates all his work. […]
Marc Armand
[…] For each project I went to the same books. One, that I bought straight out of art school, is The Ten Influential Creators for Magazine Design by Yasushi Fujimoto. It was my Bible for a while. It wasn’t just the magazine aspect of it that I liked. There were also many strange creations and images. Tadanori Yokoo is in there, for example. There is another Japanese designer in there, outrageous and techno, who influenced me for years: Gento Matsumoto. […]
Marc Armand
[…] Alchimia by Kazuko Sato. That had a huge influence on me. There was a kind of esoteric and mystical side of postmodernism that I found later in Memphis. Another book too, a big book in a small format, like a dictionary, was Eighties Japanese Ads. It was full of 1980s Japanese ads, as is suggested by the title, it was awesome. […]
Elizaveta Porodina
[…] I really am inspired by painting, probably more than I’m inspired by photography, just because this was my initial inspiration. My mother took a lot of time showing me art books, bringing me to all the museums, showing me modern art and classical art. So, it’s not as if it was a snobby decision from my side to be more inspired by paintings rather than photography. It is just what I really loved as a child and it kind of never changed. […]
Elizaveta Porodina
[…] I really enjoyed Degas and Renoir and Gauguin, but there were also some Russian artists that were very inspiring, like Petrov‑Vodkine, or Vrubel: they all had very different techniques, but there were always elements that sounded true when I saw the pictures: the free, wild, and savage use of colours where colour is not supposed to be. […]
Elizaveta Porodina
[…] There is a book that is really significant to a lot of Russians. It’s written by a writer whose name is Mikhaïl Bulgakov and the book’s name is The Master and Margarita. It’s almost like a literary Bible in a certain layer of Russian society. (…) I think I read it for the first time when I was 13 or 14, we just moved to Germany and it was a shitty time. It did help me. (…) Whenever I feel a certain void, I go back to this book, because it really covers all the topics like life, death, love, God and the devil – who is also a big part of my personal creation. All those things: cats, Moscow (laugh) […]
Random Studio
[…] DL
One thing that was a huge inspiration for me when I was studying was this club called the Roxy. This place was legendary, it changed its interior every six weeks, pioneered different styles of music, and experimented a lot with different performances – some were nasty and really weird, others were mesmerizing. […]
Random Studio
[…] DL
A lot of digital artists, like Geoffrey Lillemon, Joshua Davis, Carsten Schmidt, Universal Everything were experimenting with art, motion graphics, code. I went to a few of these new media festivals, saw really interesting work and wanted to become part of this new movement. […]
Random Studio
[…] MM
We are not blocked by any references at the beginning and they have always been very broad: from sculpture to graphic design, to Gaugin, to architects… […]
Random Studio
[…] DL
There’s one book that a friend of mine gave me on my birthday and it’s called One, No One, and One Hundred Thousand and it’s about a protagonist who understands that everyone looks at him in a different way and he becomes aware of the fluidity of identity. I read this book 10 years ago and it kicked off my spiritual journey (…) It’s by an Italian writer, Pirandello. […]
OK-RM
[…] RM
The thing that we have is from Bristol: a very special place, a convergent city, you know. It’s a convergence of art, music, culture, mystics, storytelling… […]
OK-RM
[…] RM
Grid Systems by Müller-Brockmann […]
OK-RM
[…] RM
key names like Joseph Kosuth, key curators from that era like Pontus Hultén – who worked at the Museum of Modern Art in Stockholm, the Pompidou for a while, and the MOMA – and he has specifically been a very big influence. […]
OK-RM
[…] RM
Sol LeWitt’s text Sentences on Conceptual Art is very important because it really depicts his manifesto and his reasons for working in that way […]
OK-RM
[…] RM
Pontus Hultén (…) Not only because of the artists he was working with, but also because of the way he “art directed art”. That can also be seen in the practice of Harald Szeemann, especially seen in his work for documenta 5. […]
OK-RM
[…] RM
Designing Programs and Grid Systems from the noble Swiss modernists who created a series of very precise strategies about the craft of handling complex information are really useful when it comes to understanding the strategy of consistent and efficient form. […]
OK-RM
[…] OK
I always say that What is a Designer by Norman Potter is a good one. Bruno Munari’s Design as Art. These are simple, humble works. […]
OK-RM
[…] OK
The Real Review – you must read that, its a gem of a periodical. […]
Tomorrow Bureau
[…] JF
Good strategy/Bad strategy […]
Tomorrow Bureau
[…] JF
Tipping Point by Malcolm Gladwell, Shoe Dog by Philip Knight, and I mean personally for me, Sam Harris’ Waking up was a great book. […]
Tomorrow Bureau
[…] JE
John Maeda’s book on Redesigning leadership. And one book which is fiction is Addlands which is a book about the Welsh countryside and how it evolved. A nice bit of escapism. […]
Tomorrow Bureau
[…] JF
Just study the career of Aphex Twin and you will learn a lot about the meaning of creativity. […]
Services Généraux
[…] A
Pierre Soulages for example thanks to whom I got into painting and who got me into Fine Arts. I especially admire his longevity; Pierre Soulages, who will be turning 102 this year, can keep on painting, it’s obviously so intimate and sincere after all this time that you can’t help but pay attention […]
Services Généraux
[…] A
I could name a whole bunch of people: Jane Goodall who studied primates in Africa, the German painter Gerhard Richter who is literally, absolutely incredible. […]
Services Généraux
[…] A
On a much more personal level, I can’t help but name a studio that brought all of this about: Ill-Studio; they’re not that much older and yet they blazed a trail for us with their cross‑disciplinary approach and the numerous self‑initiated projects that define their artistic discourse. […]
John Pawson
[…] I remember asking Philip Johnson what was special about Mies van der Rohe – who I think is absolutely the number one architect in history. […]
John Pawson
[…] I was introduced to Richard Hamilton and Bryan Ferry, who worked at Newcastle Art School. They could see I was drawn to the work of design and said: “If you’re interested in all this, have you seen Domus magazine?” I hadn’t. (…) They gave me this magazine and the first thing I saw in it was Kuramata’s work. I thought: “Oh, my God, there is somebody out there kind of visualising what I’ve been thinking”. It was absolutely what I loved and I’d never come across any other living architects before that made me feel that way. […]
Golgotha
[…] GH
Net Art was something I looked at every day. Every single day, Net Art, Tumblr, the new artists. This was via Facebook; it wasn’t easy to communicate. […]
Golgotha
[…] MD
And then there are the famous figures: we have books by Antoine+Manuel, M/M, The Designers Republic, touchstones all. Things we used to look at when we were finishing school and that we still like to look at. […]
Golgotha
[…] A person who really inspired us was Rafael Rozendaal whom we even met in Los Angeles along with many other artists. […]
Golgotha
[…] There is one book that struck me: What I talk about When I Talk About Running by Murakami. And yet I’m not into sports, but the mental toughness, the rigour applied each day impressed me. […]
Brian Roettinger
[…] Skateboard and music were kind of my gateway drug. […]
Brian Roettinger
[…] I love the Germs! Actually, their strategy was they made T‐shirts before they made any songs.
They had T‐shirts before they even played a show or had a song which is kind of interesting,
much. […]
Brian Roettinger
[…] I think all books you find some inspiration from. Patrick Frey the Swiss publisher makes such beautiful books. I’m thinking about those 1960s and 1970s experimental publishers
that were publishing literature like the French book club (le Club français du livre) with Pierre Faucheux. A lot of the books of Dita the artist. Making books was part of his practice, Ed Ruscha’s books, Lawrence Weiner whose work is primary typographic but as an artist he made loads of books and posters, those are a huge inspiration. Typographica the magazine, Emigre the magazine was the biggest inspiration once I got to design school. Also, the skateboard magazine Big Brother, I love. Slash magazine which I did a book on and sort of first‐wave punk magazines. […]
Yorgo Tloupas
[…] I was convinced then and still am that graphic design and craftsmanship reached a peak in terms of quality and rigour in the 1950s, 1960s and 1970s in Switzerland and the United States (I’m thinking of Müller‑Brockmann, Max Bill, that whole tradition, and the use of a limited number of typographical solutions, etc.) […]
Yorgo Tloupas
[…] I love what George Lois said: “The more you treat the masses as intelligent adults, the more discerning and demanding they become”. […]
Yorgo Tloupas
[…] Mathieu Lehanneur summed it up for me when he said he wanted to be an author rather than a service provider. […]
Yorgo Tloupas
[…] Primo Levi’s Other People’s Trades. It’s a collection of essays mainly about engineers doing their jobs (…) It reads like fiction as he tells the adventures and misadventures of people working, the problems engineers face and how they solve them. It’s fascinating and I think all professions have the potential to generate as much passion as mine. […]
Yorgo Tloupas
[…] I love Herzog & de Meuron, who manage to accomplish something that I don’t like too much in my profession: the graphic gesture. […]
Mirko Borsche
[…] At that time London was like one of the places to study graphic design because of Neville Brody, a lot of other people, magazines like i-D, The Face, you know, all these things were happening. It was the beginning of the 1990s, the beginning of the whole rave culture, club culture, a lot of flyers, Ministry of Sound, the Wag, all these clubs. That’s the only reason I went there to study. […]
Mirko Borsche
[…] Jost Hochuli, Detail in Typography. […]
Mirko Borsche
[…] An artist or a person whose work has helped you in terms of development?
Pierre Mendell. […]
Liza Enebeis
[…] One of my design heroes is Tibor Kalman, I think he is an unbelievable man. I used to collect all of the Colors magazines from Benetton. […]
Jean-Baptiste Levée
[…] In “professional” terms, there are several “historic” influences, including for example Ladislas Mandel. He was one of the first type designers to work independently after a long career in industrial type design. He was of the same generation as Adrian Frutiger, another type designer who turned his back on the use of his work by an industry rooted in metallurgy. […]
Jean-Baptiste Levée
[…] As for art, I’m mainly interested in American sixties conceptual art, Donald Judd for example, and light artist James Turrell, the master of us all. I like to cite Turrell as “by far the best type designer out there”. […]
Jean-Baptiste Levée
[…] Pierre-Simon Fournier. And some contemporaries, who are influences, friends, and models: Christian Schwartz, and Kris Sowersby. […]
Jean-Baptiste Levée
[…] How to Be a Graphic Designer Without Losing Your Soul by Adrian Shaughnessy is one of the only ones I read all the way through, about fifteen years ago. It was educational; not foundational but educational. […]
Jean-Baptiste Levée
[…] Sapiens. […]
Jean-Baptiste Levée
[…] Olafur Eliasson. And Caravaggio, who was something of a businessman himself. […]
Willo Perron
[…] I love people who have weird practices. I like super contemporary people and then… I love
going to the museum in Amsterdam and looking at the still lives. The super saturated images
and the colours are so incredible. I love super modern photography. I feel dropping names of
artists is almost like having a blog. […]
Willo Perron
[…] I think that Beuys was cool as fuck, like performing and objects. Just really all over the place. I
like people… Like Louise Bourgeois. There are so many people who are incredible! The vision
of Donald Judd. […]
Stephanie D’heygere
[…] Margiela, yes, because it’s a conceptual brand. She’s kind of unique in fashion since brands are mainly focused on producing pretty things. I like it when a little more thought goes into it. […]
Stephanie D’heygere
[…] In truth, I get my inspiration from artists who “divert” or “transform” things – such as Erwin Wurm. I love everything he does; his One Minute Sculptures are a great source of inspiration. Fashion itself inspires me less. […]
Stephanie D’heygere
[…] I love Dada, the surrealists, and I must say I’m not averse to pop art, it’s totally innovative and again, uses transformation as a tool. I also love conceptual art in general, Marcel Broodthaers for example; his aesthetic is incredible. […]
Stephanie D’heygere
[…] In terms of business, my dream model is COMME des GARÇONS. I love that brand. They don’t do a lot of accessories, but they still have beautiful leather goods and they also invested in young brands, especially through their concept‑stores. […]

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