Owsley Stanley, born 1935 was an American audio engineer and chemist. He played a key role in the hippie movement throughout the 60’s and was known for the manufacturing of LSD and for being ‘The Grateful Dead’s’ soundman, an American rock band from the 60’s.
He designed the bands iconic ‘Steal Your Face’ logo, which is now used on t-shirts and was used to stamp the bands equipment. The logo was also used as the cover for the bands ‘Steal your Face’ album in 1976.
The cover of ‘The history of the Grateful Dead, Volume One’ created by Bob Thomas shows a number of colourful bears marching. The bears are dedicated to Stanley, who wrote beneath the cover ‘The bears on the album cover are not really ‘dancing’. I don’t know why people think they are; their positions are quite obviously those of a high-stepping march’. This is where ‘Bear’ got his nickname from.
witkor gorka is a graphic designer and poster designer born on the 30th of November, 1922 an komorowice. in 1952 gorka finished his education and got a degree in graphic design, from the academy of fine arts in krakow.
during the 50’s and 80’s wiktor gorka worked alongside the largest polish publishers, he designes posters, magazine/book covers, logos and prints, etc. gorka created posters for many different films, some including how far, space odyssey, twilight of the gods etc. his works are usually pretty surreal and bizarre, and in most cases quite simplistic. minute colours are used.
Jamie Reid is an English artist born 1974
Jamies work is very rough, bold and in your face. His style is inspired by collages and illustration. He uses very bold and bright colours that contrast well.
The sex pistols were a punk rock band formed in London 1975 Reid began work for them in 1976. The heavywork load and city living eventually pushed Reid out of Suburban Press and away from London, in general. Then, in 1976, he received a telegram from his college friend, Malcolm McLaren, who wanted to gauge Reid’s interest in coming back to London.
Reid’s return to the city brought him back in touch with McLaren and a new band that McLaren had recently formed and started managing, the Sex Pistols. Fronted by lead singer Johnny Rotten, the angry, brash young group soon became the face of English punk rock. At least part of that was due to Reid.
Working closely with the Pistols, Reid designed artwork for the group’s debut (and only) studio album, Never Mind the Bollocks, Here’s the Sex Pistols. He also co-wrote the lyrics of one of the group’s most popular songs, “Anarchy in the U.K.,” and produced cover art for the song, a torn and tattered Union Jack flag with safety pins clipped to it. That and other Reid-made Pistols art, including a picture of the Queen with a safety pin through her lip, became defining symbols of the punk rock era, and the Sex Pistols in particular.
Ben Brown is a Sydney bassed Illustrator. Ben has created posters for high profile musicians such as Nirvana, Silverchair and Fat Boy Slim to drawing Stab magazine’s regular cartoon, Ben Brown has a genuine and varied love for the illustrated form. The Sydney-based illustrator has been on the art scene for over twenty years, drawing from his enthusiasm for surfing, skate culture and music to get involved in projects which he’s passionate about.
He’s been responsible for the visual identities for popular local festival such as Falls Festival, Big Day Out and Good Vibrations, has illustratred two children’s books and has been involved in merchandise design for surf brands Rip Curl, Hot Buttered and others. Somehow he also finds time to feature his illustrations in international magazines such as Rolling Stone, Juice, Waves, Mad and other publications. Whew!
‘’I have always enjoyed drawing and doodling since I was young – so it was kind of a natural progression. In my adolescent years I hung around a lot of noisy bands and stinky pubs and I soon found myself doing posters, flyers and record covers for all manner of bands, promoters and record companies. An interest in surfing and skateboarding similarly lead to work with surf and skate companies and magazines.’’ Ben Brown. I am inspired by the ways Ben uses bright vibrant colours to contrast his very detailed line work.
John Pashe is an English designer, he completed a bachelor in arts and graphic design at the Brighton colledge of art between 1963 and 1967. John is most well known for creating one of the first logos of rock band marketing in 1969, The logo was created for the Rolling Stones. The simple impacting logo illustrates a mouth and a tongue.
The logo was then reproduced for the sticky fingers album in 2008. Johns design was voted the best band logo of all time on an online poll. John continued to work with the rolling stones for four years, he design many of the rolling stones posters and banners.
“John Pasche designed four tour posters for the Rolling Stones between 1970 and 1974 and also worked for other reputed artists, such as Paul McCartney, The Who, The Stranglers and Dr Feelgood. He works as a freelance designer in Surrey, UK, and he still remains a fan of the band, as he says “I have fond memories of a good working relationship with them. The logo is one of the strongest and most recognizable worldwide. And of course I’m proud of that.”
Pasche has done considerable design work. Among these he has designed album and single sleeves, as well as concert posters for The Stranglers; The Raven (1979), The Stranglers IV (1979), La Folie (1981), Live (X Cert) (1979), “Duchess” (1979) and “Peaches” (1979). He created the single disc picture for Fischer-Z’s “The Worker” (1979) and the album cover for Going Deaf For A Living (1980). He made the album cover for The Vapors 1980 album New Clear Days, as well as a 1979 Dr. Feelgood single.
George Russell Drysdale, also known as “Tass Drysdale”, was an Australian artist born in February 1912. Drysdale had poor eyesight all his life, and was virtually blind in his left eye from age 17 due to a detached retina.
Australian art had been regarded as provincial sub-species of British art; Drysdale’s works convinced British critics that Australian artists had a distinctive vision of their own.
A chance encounter in 1932 with artist and critic Daryl Lindsay awakened him to the possibility of a career as an artist; he soon after studied with the modernist artist and teacher George Bell. In June 1939 Drysdale was recognised within Australia as an important emerging talent.
Drysdale’s 1942 solo exhibition in Sydney which was his second in point of time; his first had been in Melbourne in 1938, was a critical success and established him as one of the leading Sydney modernists of the time.
He was awarded the prestigious Waynne Prize for Sofala in 1947, and then went on to represent Australia at the Venice Biennale in 1954 where he abstract and surrealist art became a huge influence on him. Drysdale’s reputation continued to grow throughout the 1950s and 1960s as he explored remote Australia and its inhabitants. In 1954, together with Nolan and Dobell, he was chosen to represent Australia at the Venice Biennale.