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.


Osibisa,
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.

90's

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:
http://www.powells.com/cgi-bin/biblio?show=Trade%20Paper:Sale:0810991152:13.98

Michelle1980'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.

Michelle1970's

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.

Sources:
http://en.wikipedia.org

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.

IMPORTANT NOTICE CLOSE OF POSTINGS FOR THIS BLOG 4.00 FRIDAY 22 JUNE

I CANNOT FIND THE FOLLOWING POSTS FOR THE LISTED. I NEED TO LODGE MARKS.
THAT MEANS NO POSTS NO MARKS.
POST 1: 1900/10
KIM
BRANDON
BRITTANY
DAVID
POST 2: 1920/30
KIM NEED 1/5 PLUS SEM1
JACQUI
DAVID
BRITTANY
BRANDON
POST 3: 1940/50
LUCY
JACQUI
DAVID
BRITTANY
POST 4: 1960
MICHELLE
JACQUI
DAVID
BRITTANY
POST 5: 1970
PAULA
MICHELLE
JACQUI
GENVIEVE
FEONA
EMILY
DAVID
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POST 6: 1980/1990
PAULA NEED 1/5
MICHELLE NEED 2/5
LUCY NEED 1/5
JACQUI NEED 4/5
GENVIEVE NEED 1/5
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DAVID NEED 5/5
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Fe. Alex Steinweiss 40’s

Updated Steinweiss
www.eisnermuseum.org/_albums/albmcovers.swf
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.

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.

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:
www.designmuseum.org/design/stefan 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.
http://www.comic-art.com/

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; http://www.fashion-era.com/the_1960s_mini.htm

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.
http://en.wikipedia.org/wiki/Expressionism

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.


url:
http://www.salon.com/people/obit/1999/05/19/kalman/

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.


http://cgi.ebay.com/Vintage-80s-Candy-Swatch-2-in-1-Twin-Phone-Deluxe-NIB_W0QQitemZ270129785629QQihZ017QQcategoryZ41374QQcmdZViewItem

http://www.eurocosm.com/Application/Products/Teleph/swatch-telephones-1GB.asp

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).








Sources:
http://en.wikipedia.org/wiki/Main_Page

jo

Derek Birdsall is a graphic designer that became known as the ‘book designer’. He was born in 1934 in Yorkshire, England. As a young boy he hated school, but his penmanship was noted by teachers, and at 15 he attended Wakefield College for three years before winning a scholarship to the Central School of Art and Design in London in 1952. Through influential teachers like Anthony Froshaug, Herbet Spencer and Edward Wright, Derek learned the importance of Clarity, directness and textual legability of proper typography and the difference between that and simply beautiful lettering. Derek then spent two years in national service in Cyprus.

In 1957,taking the ‘modernist approach’, Birdsall landed his first design job for printer ‘Balding and Mansell’, doing a series of leaflets for an LP Album. He continued to freelance for another two years before forming the company BDMW, with George Daulby, James Mortimer and George Mayhew. During the eight years with this company, Derek became known as the ‘emergency art director’, doing multi-tasking on several layouts for different magazines at the same time. This task included commissioning and art directing photography and illustration, as well as designing typography and layouts.

In 1967 he started his own studio “Omnific”. He had been designing Penguin book covers for the last seven years; in 1970 Derek completely redesigned the Education series for Penguin. Birdsall did layouts for Town, Nova, and Twen magazines, as well as advertising layouts for Mobil Oils’ Magazine ‘Pegasus’ and produced a calendar series for Pirelli that did not contain tyres. Lotus Cars and Monty Python were also clients of his during the 1970s.

During this decade Derek was appointed a lectureship at the London College of Printing and also taught at the Maidstone College of Art. Derek’s book design using typography, transformed words into art and it became a mark of his work.
Many beautiful works have been created by Birdsall since, including several major art catalogues for Yale University Press, National Gallery in Washington DC, and design catalogues for clients like George Stubbs of the Tate Gallery. In 1983 Derek was made Royal Designer for Industry and in 2005 he received the Prince Philip Designers Prize. Derek still designs books today.

Bibliography: www.designmuseum.org/design/derekbirdsall

post6: you guessed it 1980 and 1990s

1980's the time of space shuttle flights begin, high temp super conductors developed, glasnot policy implemented by gorbachev, sportswear, contemporary japanese design, androgyny, madonna, slogan t shirts, printed fabrics, wolfgang weingart, katherine mccoy, cranbrook school of art poster, 'emigre' magazine,zuzana licko, rudy vanderLans, 'the face'- neville brody, bartle bogle hegarty, canon cb10, classic apple computer, 'hommes', ikko tanaka 'noh', grapus- design collective, miehe, nigel rose, gert dumbar, gunter rambow, peret, pere torrent, toscani, united colors of benetton, nathalie du pasquier memphis textiles, susan collier and sarah campbell textiles, mickey mouse phone, Frutiger, Alexander Jordan, Garald Paris Clavel, Pierre Bernard, Alain Le Quernec, Tibor Kalman, new functionalism, octavo,

jerik spiekermann- meta desgn, rick valicenti, designers republic sheffield england, malcom garrett, ray gun magazine, david carson, fuse magazine, peter saville, jonathon barnbrook, world wide web, tomato, tetra pak, mobile phones, sony playstation, jim nature tv phillippe starck, canon ixus, apple imac and ibook, multi media kiosk, 'raygun', terry jones, 'i-D', 'vibrations', 'blue lines massive attack, michael nash, 'screamadelica' primal scream, paul connell, 'post' by bjork, sonia greteman, swatch twin phone, video phone,

 

christain 70's exploitation

The 1970s was the time of the exploitation movie in all its glory. Exploitation or Trash movies have since gained a cult following for all the wrong reasons probably but were movies made at a time when political correctness wasnt heard off.

Exploitation and Trash movies came in a number of forms, across a number of movie genres and presented people with sex, violence and gore, all taboo subjects until this time in cinema. They and the posters that came along with them have been described as the underbelly of both the cinematic and poster arts and are widely defined by words like, sleazy, cheap, racist, violent, grose, tasteless, sick and sexist but they are a great example of the liberation in the 1970's of freedom of expression and bending the rules in creativity, cinema and design.

The movie posters that came along with Trash and Exploitation have also been described as a low point in advertising and cinema promotions and poster design but again they reflect the times and are highly sought after by collectors. The posters are instantly recognisable as the 1970's. the typography alone help define the 70's and the images borrowed from a range of art movements including pop and physchedelic to create some distinctive images. The posters also bent the rules as far as what was seen on a movie poster until this time and for all their crassness they stand alone as unique peices of work and many of the styles used have been copied time and time again to recapture the feel of the 1970's.

The movies and posters were meant to shock and never pretended to be anything that they werent.

Amongst the most successful of the movies were those in the Blaxploitation genre which put African Americans to the forefront in cinema for the first time. Movies such as Superfly, Shaft, Foxy Brown, Cleopatra Jones and Slaughter and their posters have become cult classics.

paula - hard werken in the 70s

'I don't think anything designed should be considered as art. It's not only about the experimentation with form. There is always a client'.

This dutch graphic design company and its designers where way ahead of there time in the 70s.

Rick Vermeulen was born in Schiedam, the Netherlands in 1950. He studied graphic design at the Rotterdam Academy, graduating in 1972. From 1975, he worked regularly for the publisher Bert Bakker and was a participant in Rotterdam's Graphic Workshop, where designers and artists produced material for cultural organisations in the city and events such as the Rotterdam Film Festival. From 1978-82, Vermeulen was an editor of Hard Werken magazine, along with Willem Kars, Henk Elenga, Gerard Hadders and Tom van den Haspel. The cultural tabloid made a considerable national impact and the group became a design studio operating under the name Hard Werken, with each designer supervising his own projects.

In Holland, Hard Werken is viewed as one of the more influential design companies. It showed a different attitude towards the existing design world, and it has definitely left its mark here.





What is particularly striking is the continuous urge to innovate, the repeated search for another way and the refusal to be satisfied with a fixed style or individual character.This is apparent from their innumerable dust jackets, posters postage stamps, but also from their designs for interiors, stage sets and exhibitions.