Wednesday, August 1, 2007

Malcolm Garrett was born in Northwich, England, and attended St Ambrose College. He studied typography at the University of Reading from 1974 through 1975 and graphic design at Manchester Polytechnic from 1975 through 1978.[1] A fellow student of Garrett's at Manchester Polytechnic was Peter Saville, a graphic designer who would also design prominent record sleeves in the late 1970s and early 1980s. Garrett's first important professional work was design for the punk rock group Buzzcocks. From 1978 through 1994, Garrett was the design director of Assorted iMaGes. His work there included "graphic identity, exhibition design, television graphics, and literature design." His work for musical artists included Duran Duran, Boy George, Simple Minds and Peter Gabriel. The sleeves that Garrett designed for Duran Duran (from 1981 until 1986) include: Rio, Seven and the Ragged Tiger, "Planet Earth", "Is There Something I Should Know?" and "The Reflex."

In the early 1990s Garrett was increasingly attracted to digital technology and in 1994 Garrett teamed with Alasdair Scott to form AMX digital (later called AMX studios), an interactive media production company. Garrett left AMX when that company merged with Zinc to form Arnold Interactive in 2001. He then worked at I-mmersion in Toronto, Canada art directing interactive cinema, but returned to London in 2005 where he is now Creative Director at AIG (Applied Information Group).
Garrett is a Royal Designer for Industry (RDI), and a Visiting Professor at the University of the Arts in London. He is Creative Director of dynamo london, the online showcase for the digital and interactive media industry in London.

Monday, July 30, 2007

Fletch Lives

Alan Gerard Fletcher, designer: born Nairobi 27 September 1931; partner, Fletcher Forbes Gill 1962-65; partner, Crosby Fletcher Forbes 1965-72; RDI 1972; founding partner, Pentagram Design 1972-92; President, Designers and Art Directors Association 1973; International President, Alliance Graphique Internationale 1982-85; married 1956 Paola Biagi (one daughter); died London 21 September 2006.(

Returning to London in 1959, Fletcher took a space in the studio of his former classmate Colin Forbes and in 1962 the pair teamed up with the American designer Bob Gill to create Fletcher Forbes Gill. As a team they had an ability to combine the formal restraint of Swiss modernism with the wit of the Madison Avenue advertising industry that set them apart from other British design firms. Fletcher's iconic work from the period, such as the bus-side advertisement for Pirelli slippers in which the passengers become the wearers of the slippers, has lost none of its spark.

Enjoying, as they did, fast-growing commercial success, their creative ambitions grew to match. In the mid- Sixties they decided that the best way to communicate the identity of Shell Petroleum was to reconfigure the furniture of the garage forecourt into the letters SHELL. Although this extraordinary project never came into being, it prompted a new partnership with Theo Crosby and transformed them into London's leading multidisciplinary design firm.

Crosby Fletcher Forbes evolved into Pentagram in 1972. The company's highly innovative structure in which every partner acts as an independent profit centre while each is paid the same has allowed it to grow from a five-partner (hence the name), London-based firm to a, currently, 18-way firm with offices in five cities.

Alan Fletcher was the father figure of British graphic design. Through his companies Fletcher Forbes Gill, Crosby Fletcher Forbes and later Pentagram, he revolutionised the practice and the business of visual communication, introducing Britain to punchy, ideas-based graphics and helping transform design from a decorative extra into a key element of corporate and public life.

As far as Fletcher was concerned the starting point of a piece of work was not how it should be done, but why. His professional approach was characterised by a rigour and perfectionism that went uncompromised over his 50-year.

Peace not Warhol 1960

The summer of love... although i was mearly a twinkle in my fathers eye, i know, and have for some time, about this time. The 1960's was a hugaly influential period for many people. PEACE, LOVE, SEX and ROCK & ROLL are words that come to my mind, but alond with this there is a visual of many loud colours. Whether it was the introduction of drugs like LSD to society of whether the music, that was obviously the creation of the devil, something had changed. Flourecent colours and warped patterns covered all aspects of design, the rigid shapes and regimented colours of the past were left behind for freedon of expression.

The Pop Art movement originated in England in the 1950s and traveled overseas to the United States during the 1960s. Richard Hamilton and Eduardo Paolozzi, both members of the Independent Group, pioneered the movement in London in the 1950s. In the 1960s, the movement was carried by Peter Blake, Patrick Caulfield, David Hockney, Allen Jones, and Peter Phillips. In the early sixties, Pop art found its way to the United States, seen in the work of Jim Dine, Roy Lichtenstein, and Robert Rauschenberg. It developed in the United States as a response to the wealth of the post World War II era and the growing materialism and consumerism in society. The most recognized Pop Artist, Andy Warhol, used a photo-realistic, mass production printmaking technique called seriagraphy to produce his commentaries on media, fame, and advertising.

Born in Pittsburgh, Andy Warhol moved to New York at the age of twenty-one to become a commercial artist. This occupation gave him experience in silkscreen printing, which became he medium of choice. Warhol began making paintings of familiar objects such as soup cans and brillo pads. After a brief period of hand-painting these works, Warhol began to use mechanical techniques to mass-produce his images. His interest in popular culture expanded as he began to depict celebrities and newspaper clippings in his prints. Warhol also created films and worked with the rock band, The Velvet Underground

freedom from industry 1910

Futurism was an Italian art movement that flourished from 1909 to about 1916. It was the first of many art movements that tried to break with the past in all areas of life. Futurism glorified the power, speed, and excitement that characterized the machine age. From the French cubist painters and multiple-exposure photography, the Futurists learned to break up realistic forms into multiple images and overlapping fragments of colour. By such means, they attempted to portray the energy and speed of modern life. In literature, Futurism demanded the abolition of traditional sentence structures and verse forms. Futurism was created by the poet Filippo Marinetti.

In 1909, Marinetti issued the first of many defiant proclamations published by the Futurists. “We will fight with all our might the fanatical, senseless and snobbish religion of the past, a religion encouraged by the vicious existence of museums. We rebel against that spineless worshiping of old canvases, old statues and old bric-a-brac, against everything which is filthy and worm-ridden and corroded by time. We consider the habitual contempt for everything which is young, new and burning with life to be unjust and even crimina”. Marinetti was soon joined by the painters Giacomo Balla, Carlo Carra, Luigi Russolo, and Gino Severini, and the painter and sculptor Umberto Boccioni. By 1916, Futurism had lost most of its vigor.

A small bit of information about a short but influential period in the history of design and the arts, going into detail about this subject would only give it more emphasis than is really needed, during this period so much was happening in the world, these were the times of the human, the teens if you will, when we were really discovering what we were capable of, and in a way we were teaching ourselves the habits that would one day be our downfall. No I am not prone to morbidity, I believe that these artists and designers, although they were probably all mad, were living the dream, expression, while all others were trying to lead and follow. Maybe it is just this that is our downfall and all that stems from it are just tools along the way, and maybe these movements never became because the minority of people living an answer were still just that, a minority. What has this to do with 1910, nothing accept the fact that It is nearly 100 years ago and nothing has changed, just evolved.

Sunday, July 22, 2007

Fancy Pants

The economic and social pressures that immediately followed the First World War brought with them a new mood for a rigorous and clean-cut look. Art Deco was an innovative design style popular in the 1920s and 1930s. Its sleek, streamlined forms conveyed elegance and sophistication.

Society in this post war period was a very segregated entity, classes of people were clearly outlined and as economies where at a high, the rich where rich and the poor were damned.

Travel was a luxury reserved for the upper class. These people, from what I gather, were the first definition of what is known today as the “snob”, Life to them was all about the material, cars, houses, clothes and holidays.

Graphic design played a huge roll in the travel industry during this period, with people using holidays and destinations as weapons of social classing, travel was a huge market now, full of the wealthiest consumers, therefore advertising had to be of the highest standard, encompassing all modern design styles.

I guess the wealthy people of this time really needed these kind of props to keep their mind focused on competition and success as opposed to the bleak reality of their shallow greed and hedonism.

I would love to have found some advertising for a local bus route, I have a sneaking suspicion that the design would have been a shade or two less elaborate.

Thursday, June 21, 2007

Fe. Roger Dean 70’s

In 1961 Roger began a three year course in Industrial Design, leading to a National Diploma of Design. Initially he studied silversmithing and then furniture design. During 1964 Roger made the first designs for the "Sea Urchin Chair". In 1965 he joined the Royal College of Art Furniture school under Professor David Pye. He made the Sea Urchin Chair which was exhibited at the Design Centre in the Haymarket, where it became the focus of media attention for some time.
Roger graduated from the Royal College of Art in 1968 and continued to live and work in London. He designed a “landscape” of similar seating seating for Ronnie Scott's Jazz Club. He produced his first record cover, for a group called Gun.

Then in 1971 Dean produced the cover for the first album by the African/Caribbean band, Osibisa, which attracted a lot of attention to his work.

Designed: Roger Dean 1971

Later that year, he began the partnership for which he is best known, designing his first album cover, Fragile, for progressive rock bands Yes. Dean designed the classic Yes "bubble" logo, which first appeared on the album Close to the Edge, and has created covers for the band as recently as 1999 (The Ladder).

YES: Tales form Topographic Ocean
Designer: Roger Dean Nov 1973.

In addition to their album covers, Dean also contributed to his brother Martyn Dean's stage set designs for the band.
Known primarily for the dreamy, other-worldly scenes he has created for Yes, Budgie , Uriah Heep, Gentle Giant and other bands, Dean has said, "I don't really think of myself as a fantasy artist but as a landscape painter."
Two compilations of his work, Views (1975) (the success of which led him to form publishing house Paper Tiger Books) and Magnetic Storm (1984), have been published. In addition, his architectural and furniture work have been exhibited in the Victoria and Albert Museum and in the Royal Academy.


The 90's was all about outrageous mixes of colour, punk-retro aesthetics, camp, and kitsch. concert posters of the 1990s became so wildly popular that they were said to have taken on a life of their own. Sometimes even outshining the rock bands they were created to promote. Not only are they collected today, but an annual two-day convention known as Flatstock now exists to celebrate the works of the leading artists and designers. Most of the designs from this time were exploding with color and bold graphics, this was an important movement in graphic design. designs of this era were all about the music! and how to portray its feel and the type of music.
posters of this time could also have been considerd as funny, but also crude and abnoxious at times. the picture i chose acknowledges this by the imagery of a bare bottom which is seen by all. The 90's was a good time for people to experiment with colour and tones and the designers of that age did just that!
my picture came from this link here:

Tuesday, June 19, 2007

1980's - 1990's

Neville Brody

The British designer and art director, has now been at the forefront of graphic design for over two decades.

Initially working in record cover design, Brody made his name largely through his revolutionary work as Art Director for the Face magazine (1981 - 1986).

Other international magazine directions have included City Limits, Lei, Per Lui, Actuel and Arena, together with London's The Observer newspaper and magazine.

Brody has consistently pushed the boundaries of visual communication in all media through his experimental and challenging work, and continues to extend the visual languages we use through his exploratory creative expression.
Brody won much public acclaim through his highly innovative ideas on incorporating and combining typefaces into design. Later on he took this a step further and began designing his own typefaces, thus opening the way for the advent of digital type design. His pioneering spirit in the area of typography manifests itself today in such projects as FUSE, a regularly published collection of experimental typefaces and posters which challenges the boundaries between typography and graphic design.

In 1988 Brody published the first of his two monographs , which became the world's best selling graphic design book.
He still remains very active as a typographer, particularly as founder and partner of FontShop International in Berlin and FontWorks in London, initiator of FUSE, and as a member of FSI's international Type Board. His contributions to the world of graphic design and digital typography are absolutely invaluable.


Andy Warhol

Andy Warhol (August 6th 1928 – February 22nd 1987) was an American artist who became a central figure in the movement known as pop art. After a successful career as a commercial illustrator, Warhol became famous worldwide for his work as a painter; an avant garde filmmaker, a record producer, an author and a well respected public figure.

A controversial figure during his lifetime (his work was often derided by critics as a hoax or "put-on"), Warhol has been the subject of numerous retrospective exhibitions, books and documentary films since his death in 1987. Though he is generally acknowledged as one of the most influential artists of the twentieth century.

Compared to the success and scandal of Warhol's work in the 1960s, the 1970s would prove a much quieter decade. This period, however, saw Warhol becoming more entrepreneurial. Warhol devoted much of his time to rounding up new, rich patrons for portrait commissions — including:

Mick Jagger

John Lennon

Michael Jackson

Warhol was not just a painter...But rather a designer of paintings.


Punk Rebellion

The punk subculture during the 1970s exuded many graphic interpretations that all reflected the ideologies behind it, which often had direct messages concerning political issues such as social injustice and economic separation. The general idea of the movement was revolutionary and was therefore inspired by art movements of the early 1900s that had a revolutionary feel; Dada’s social anarchism, the abstraction of Suprematism and Constructivism, the harmonious De Stijl and the Bauhaus.
Punk graphic sensibilities are essentially of a Do-It-Yourself nature reflecting their rebellion from the mainstream; mass production and capitalist society which is why, “The saftey-pin thus became a succinct symbol for all the socio-cultural ramifications of such a modus operandi - safe yet dangerous; stuck together but hanging apart; repaired and impaired.” To represent these ideologies, the characteristics and techniques of punk design include political photomontages and mass media imagery manipulation using typography and images cut out of newspapers with an attitude of fierce juxtaposition and defamatory appropriation. Stencil art, collage, cartoons and bright green, pink and yellow were prolific elements used in punk design yet also at times would undertake a nihilistic appearance depending on the personal interests of the artists. Some punks would themselves hand paint a bands album cover onto the back of a leather jacket.
As the punk subculture revolved greatly around music, much of the graphics were found on album covers and band posters, brochures and album advertisements as well as on associated paraphernalia like t-shirts, stickers and badges. Zines were also prolific in punk culture. These are underground mini magazines consisting of poetry and prose, news, gossip, cultural criticism, interviews and visual art. Inspired by the early 20th century underground magazines that published stories by unknown authors and were printed on cheap newsprint therefore were of low cost and readily accessible, punk zines were usually black and white and contributors would network to make and distribute them by selling commercially through small enterprise or often by just leaving them in public places or library books as the essence of them was to express yourself and communicate ideologies and to counteract corporate culture by avoiding the control of large corporations and their methods.

Some designers from the punk rebellion include Jamie Reid, Winston Smith (collage), John Holmstrom (cartoonist), Joseph Nechvatal (dark), Malcom Mclaren and Vivienne Westwood (clothing boutique), Jamie Reid (worked with McLaren for the Sex Pistols). Punk aesthetics also inspired the Stuckism art movement.


POST 1: 1900/10
POST 2: 1920/30
POST 3: 1940/50
POST 4: 1960
POST 5: 1970
POST 6: 1980/1990

Sunday, June 17, 2007

Fe. Alex Steinweiss 40’s

Updated Steinweiss
a nice site with a flash programme running.

In 1939, at the age of 23 graphic designer Alex Steinweiss was the first art director for Columbia Records, where he revolutinized the way records were packaged and marketed by inventing the concept of album covers and cover art; previously, recorded music was sold in plain, undecorated packaging out of plain cardboard and displayed only th title of the work and artist. "They were so drab, so unatractive," says Steinweiss, "I convinced the executives to let me design a few." For what he saw as 12-inch by 12-inch canvasses, he envisioned original works of art to project the beauty of the music inside. Surrealism as well as contemporary French and German posters, influenced Steinwiess' style. He established the foundation for what the genere of album covers would become. Steinweiss saw his album covers as visual representations of the music.
Steinweiss was active in record cover design from its inception in 1939 until 1973, when he semi-retired to devote himself to painting. By his own admission, he has designed roughly 2500 covers.
From 1939 to perhaps 1945, he designed all the covers for Columbia. During this period, he developed the entire graphic “language” of album cover design.
The second period is from 1945 to roughly 1950, during which he was no longer the sole designer for Columbia. He also began designing for other companies. This period is sometimes described as the “First Golden Age” of the album cover.
Steinweiss claims to have invented the LP cover, which first appeared in 1948.

Thursday, June 14, 2007

christian- 1980 mambo

Mambo has become one of Australias most successful fashion labels of the last 30 years since it was founded in 1984. Started as a screenprinting company by Dare Jennings and Andrew Rich, Mambos style and comnination of art and humour has been enormoulsy successful.

Mambo basically set out to be controversial and expressive, producing t shirts with strong graphic images and artwork that dealt with politics, the environment, religion and everything in between with strong Australain humour.In doing so Mambo has helped create a fashion label that has given numerous graphic artists and artists a chance to explore australianisms and create images that have become iconic both in fashion and wider circles.

Mambo always engage people in conversation which is a testament to the companys philosophy and the designers who work with and for the company. The most recognised of these is Reg Mombassa whos work is entwined with Mambo t shirts and reinventing the everyday Australian way of life. Australian Jesus is one example among many of this.

Mambo as a company have generally done things their own way and have followed some untraditional methods of marketing, in factanyone wearing a mambo tshirt of the 80's or 90's was enough effective marketing in itself and it has only been recently that the company has become more trend and market conscious.

Mambo was an extremely innovative fashion label and company when it started and its success is testament to this and it always allowed graphic artists a medium of expression that reached many people and has allowed them the exposure of thousands of bodies across Australia.

Wednesday, June 13, 2007

jo 1980' & 90's

Stefan Sagmeister was born in 1962 in Austria and educated at a local engineering school.

In 1981 he moves to Vienna and is accepted after a second attempt to the Vienna University of Applied Arts to study graphic design.

In 1984 he designed posters for Vienna’s Schauspielhaus theatre and the successful campaign to save the Ronacher music hall from demolition.

Stefan graduated in 1985 with a first class degree and a prize from the city of Vienna.
Then in 1987, with a Fulbright scholarship, moved to New York for three years to study at the Pratt Institute. When he returned to Vienna in 1990, to avoid military conscription, he worked in a refugee centre as well as designing posters for Nickelsdorf Jazz Festival.

He lands a job in Hong Kong with ad agency, Leo Burnett in 1991. Stefan upset many with his 1992 controversial 4A’s advertising awards poster depicting four naked buttocks with the wording “Who’s the asshole who designed this poster?” In fact a lot of Stefan’s designs provoked thought and conversation among his viewers. And this is exactly what he wanted; by mixing sexuality with wit and adding a bit of the sinister, his works though often simple, became potent messages for the reader.

Stefan’s goal was to design music album covers, but only for music he liked. He formed Sagmeister Inc, but kept his business small with a team of three. After designing their own business card, their second commission came from Stefan’s brother who owned the jeans company Blue. Stefan’s long time friend and musician HP Zinker commissioned him to design his CD cover for Zinker’s ‘Mountain of Madness’ album. Replicating the optical illusion with the red plastic slipcase he’d used for his business card, Stefan designed the cover and put in in the case. When the album was viewed it showed the close-up of a placid man’s face, but when the red cover is removed the man’s face changes to that of a furious look. This cover won Sagmeister his first of four Grammy nominations.

Lou Reed invited him to design his 1996 CD cover for his “Set the Twilight Reeling” album. Other great covers followed for bands like The Rolling Stones and David Bryne. As well as this form of graphics, Stefan continued to design lecture posters for the AIGA.

Bibliography: sagmeister

lucy 1970

In the 70’s, recycling art was wide spread and very popular at this point in history and was called the ‘Art Nouveau’. Like many artistic movements, art nouveau was made from many different styles. There were common links but it is this uniqueness that epitomises the movement, its only one character being an aim to try to defy the established order of the fine and applied arts of the time. This "new art" was hated in Britain by the established contemporaries, the critics referring to it as "The Squirm".
During this time the designs and and artworks made were very intouch with nature and reflected some environmental issues. Commic art was also a very big and continuioulsy growing aspect of graphic design in the 1970’s. artists in these times used plane but bright colours and simple single line drawing with sharp and bold lines. The use of dark colurs and light/ bright colours contributed to how they portrayed th “good guys’ and the “ bad guys” hence the good guys being light and the bad guys being dark. As seen in this pic.

Jaymi: RayGun Mag 90's

Ray Gun was an American Alternative rock magazine, first published in California in 1992 led by art director David Carson. Ray Gun pushed the conventions of magazine design to a new level. Changing typography, layout, headlines, columns, and even page numbers. Resulting in a chaotic, abstract not always legible magazine.

Every single type rule you could come up was broken in Ray Gun’s brief history, overlapping blocks of copy; light text against dark backgrounds; dark text against dark backgrounds; running text across pages; articles read horizontally across columns; photos upside-down. The name itself has had many variations such as rAY GUn, RAYGUN, ray gun and so on. In the April ‘95 issue the feature article began on the inside and finished on the front cover, truly unconventional.

The magazine had many critics about breaking the conventions of magazine layout, typography and getting away with it. Also some complained about the legibility of the articles. David Carson stated, “If you think it’s hard to read or too weird, you’re probably not the audience, and that’s fine.” But for the over 150,000 readers of Ray gun, decoding the text was part of the fun.

lucy 1960

Talent was the prerequisite to success in the 1960s. For the first time ever in any fashion era, the young became the leaders of fashion. They led with new and radically innovative fashion styles, with little girl woman androgynous looks for women that swept away the sophisticated sweater girls of the early sixties. The picture of Twiggy in the header defines her as the epitome of a sixties baby doll woman. This influenced the design side of society by encouraging outrageous and "loud" art and design works to be "the in thing" bright loud, graffiti like works were in order as rainbow and florescent coleus as well as diverse individual designs were becoming more and more “in” as the hippie culture of love peace and harmony was growing bigger. Fashion influenced 60's design in a big way making designers want to use big, bright coleus to get their messages across.
Allot of the designs and art during this time reflected love, piece send harmony. So these colours appealed to people of this era and help the messages of artists to be displayed.
My link is;

lucy 20's

post 2
In the 1920’s rich and diverse graphic art styles were influenced heavily by expressionism. Expressionism is the tendency of an artist or designer to distort reality for an emotional effect. It is subjective. Expressionism is exhibited in many art forms.
Most the works portrayed the feeling or emotion, as the designer would have wanted the audience to see and feel! In this particular design; I feel the designer has try to portray a complicated and busy emotion with many different aspect and obstacles trying to get out in to the smooth self passed background which is filled with space and simper shaded colour. The colours are all bright and contradicting of each other’s they all are directed to the middle. The sharp simple lines indicate strong feelings of busyness and clutter to portray a complicated busy style! These shapes and colours were used a lot during the 1920’s, as this style was very popular.

Jess - Tibor Kalman [80-90's]

Tibor Kalman born on July 6, 1949–May 2, 1999 was an influential American graphic designer of Hungarian origin, well-known for his work as editor-in-chief of Colors magazine.

Kalman was best known for the groundbreaking work he created with his New York design firm, M&Co, and his brief yet influential editorship of Colors magazine. Throughout his 30-year career, Kalman brought his restless intellectual curiosity and subversive wit to everything he worked on -- from album covers for the Talking Heads to the redevelopment of Times Square. Kalman incorporated visual elements other designers had never associated with successful design, and used his work to promote his radical politics. The influence of his experiments in typography and images can be seen everywhere, from music videos to the design of magazines such as Wired and Ray Gun.

Kalman combined his desire to break new ground visually with a passionate commitment to social causes. From his days as an undergraduate at New York University, where he was a member of Students for a Democratic Society (he left school to support the Communists in Cuba for a period), Kalman's radical politics and his radical designs were inextricably linked. "I use contrary-ism in every part of my life. In design ... I'm always trying to turn things upside down and see if they look any better," he told Charlie Rose in a December 1998 interview.


Kim- Swatch Twin Phone

Swatch twin phone

The Swatch brand made a name for itself during the 1980s as an innovator in watch manufacturing, producing a very broad range of limited edition designs at an affordable price.
Building on this success, Swatch went on to produce a range of telephones which, have since become collectors items. The twin phone was a new inventi0on of the 80’s and was highly successful. Features of the phone include
• 2 People can talk on the same phone at the same time
• Tone/Pulse Switchable
• Mute key
• Ringer volume selector
• Name Dial
• 20 # Memory
• Last number redial
These phones came in a range of pastel candy colors as well as bright fluro colors and in a range of styles such as see through casing and a range of square shapes and rounded shapes. The popularity of these phones ended in about the early 90’s but recently have been coming back into fashion and a lot of collectors are trying to get there hands on them. They were recently shown in the show seventh heaven which has educated the younger generation in the phone.

Michelle: 1960's

Sir Peter Thomas Blake (born June 25th 1932) is an English pop artist, best known for his design of the sleeve for The beatle’s album Sgt. Pepper’s Lonely Hearts Club Band.

It featured a colourful collage of life-sized cardboard models of famous people on the front of the album cover and lyrics printed on the back cover, the first time this had been done on an English pop LP. The Beatles themselves, in the guise of the Sgt. Pepper band, were dressed in eye-catching custom-made military-style outfits made of satin dyed in day-glo colours.

According to Blake, the original concept was to create a scene that showed the Sgt. Pepper band performing in a park; this gradually evolved into its final form, which shows The Beatles, as the Sgt. Pepper band, surrounded by a large group of their heroes, rendered as lifesized cut-out figures. Also included were wax-work figures of The Beatles as they appeared in the early '60s.

The wax figures appear to be looking down on the word "Beatles" spelled out in flowers as if it were a grave, and it has been speculated that this symbolises that the innocent mop-tops of yesteryear were now dead and gone. At their feet were several affectations from The Beatles' homes including small statues belonging to Lennon and Harrison, a small portable TV set and a trophy. A young delivery boy who provided the flowers for the photo session was allowed to contribute a guitar made of yellow hyacinths. Although it has long been rumoured that some of the plants in the arrangement were cannabis plants, this is untrue. Also included is a doll wearing a sweater in homage to the Rolling Stones

During the late1950’s, Blake became one of the best known British pop artists. His paintings from this time often included collaged elements or references to the work of other artists.

On the Balcony (1955-57) shows Edouard Manet’s's The Balcony being held by a boy on the left of the composition.

And The First Real Target (1961) is a standard archery target with the title written across the top as a play on the paintings of targets by Kenneth Noland and Jasper Johns.

Blake also designed several other notable album sleeves, such as the Band Aid single, “Do they know its christmas?” (1984), Paul Weller’s Stanley Road (1995) and Oasis’ greatest hits album Stop the Clocks (2006).