Josh Kenyon

January 16, 2010

his portfolio is amazing. i loved the way he has developed his own patterns and all his designs have a certain consistency.

visit his site!

His Illustrations

His Print Work

His Art Work

Bookmark and Share

Subscribe to The Wonderland by Email

Christopher Gilbert

August 15, 2009

I link like a good girl.








Bookmark and Share

Subscribe to The Wonderland by Email

Push Pin Studios

July 30, 2009

About Push Pin Studios

“While students at The Cooper Union, Seymour Chwast, Milton Glaser, Reynold Ruffins, and Edward Sorel worked after hours as Design Plus, doing a few commissions and silkscreening without much financial success, and, after graduation in 1951, they went their seperate ways: Chwast to work for the New York Times, Glaser first for Vogue and then to study etching in Italy, and Sorel and Ruffins for independent studios. However, Chwast, Sorel, and Ruffins, unfulfilled by their day jobs, began producing a promotional publication, the Push Pin Almanack (modeled after the Farmer’s Almanac with a bevy of illustrated facts, quotes, and even horoscopes), to gain freelance commissions. Back from Italy, Glaser joined them in 1952, and by 1954 they founded Push Pin Studios (Ruffins was not one of the original founders, but joined in 1955).

The Almanack was published until 1956; it gave way in 1957 to the Push Pin Monthly Graphic, but the Monthly was dropped from the title in 1961, when it was evident the publication schedule did not match the name. The Push Pin Graphic, showcasing the remarkable and unprecedented stylistic diversity of its members, became a magnet for work and acclaim for Push Pin Studios. Sorel and Ruffins left in 1956 and 1960 respectively, but Push Pin Studios had no problem attracting talent to meet demand: Paul Davis, James McMullan, and Isadore Seltzer were all part of the group throughout the 1960s and contributed to the Push Pin Graphic as well. In the early 1970s, Glaser left to start his own studio; Chwast remained in charge (and still is), expanding the pool of illustrators represented through the Push Pin Graphic, which continued its run of original content until 1980, through 86 influential issues.”

(from Graphic Design Referenced by Bryony Gomez-Palacio and Armin Vit)

I link like a good girl.












Bookmark and Share

Subscribe to The Wonderland by Email


July 29, 2009

About Pentagram

“Established in 1972 when Crosby/Fletcher/Forbes (previously Fletcher/Forbes/Gill) the partnership of architect Theo Crosby and graphic designer Alan Fletcher and Colin Forbes grew to include graphic designer Mervyn Kurlansky and product designer Kenneth Grange, taking on the black magic-inspired name of Pentagram, a five-pointed star. This partnership and the blueprint it established for growth was unique in several aspects: It was multidisciplinary, allowing a single firm to offer a broad scope of practices; it gave each partner an equal salary, equity, and profit-sharing; it centralized administrative resources while allowing each partner to operate in relative independence as active designers running their own teams and responsible for their own clients; and it established a precedent so the accumulated personalities through the years could compete against large, tiered, corporate agencies and firms. It was Forbes, for the most part, who was able to establish this unconventional structure as he took on the responsibility of setting the parameters for Pentagram’s growth as well as introducing, and chairing for the next 18 years, the partner meetings occurring every six months- a task that grew increasingly complex as partners around the world joined.

How designers become partners in the firm is a constant source of discussion in the industry, but an agreed set of criteria informs the selection process, which was more clearly defined around 1991, when Forbes decided to delegate his chairmanship: “A partner must be able to generate business, a partner must have a national reputation as an outstanding professional in the chosen discipline, a partner must be able to control projects and contribute to the profits of the firm, and a partner must be a proactive member of the group and care about Pentagram and the partners.” The criteria emphasize the need for each addition to be able to perform not just as a designer but as a businessperson as well- a symbiosis that does not always succeed. Across four decades, more than 35 individuals have either been partners or given the opportunity to be through the two-year probationary period, giving the firm a consistent flux as partners join and leave.

Pentagram grew quickly; John McConnell joined in 1974, and then in 1978 Forbes launched a New York office. The firm has since expanded at an organic pace, adding partners not to boost profits or billings but when the right person comes along, and opening locations not to exploit industries or markets but to blend with the partners’ original location. Not all additions have proven successful; Peter Saville and April Greiman, two of the most celebrated designers of the 1980’s, did not last more than two years, and a Hong Kong office headed by London-based David Hillman operated just three years.

Consistent throughout Pentagram’s history has been a remarkably multidisciplinary practice- first, across disciplines, from corporate identity to packaging, editorial design, posters, and exhibit design; second, across client types, from nonprofit organizations to consumer brands and business-to-business corporations; and, third, across a dizzying number of markets and industries, from fashion to culture and hospitality -all without a specific or implicit adherence to any given style, resulting in an extremely diverse portfolio. In its most recent incarnation, Pentagram’s roster comprises mostly third -and fourth- generation partners -San Francisco- based Kit Hinrichs, who joined in 1986, is the longest standing -yet the principles remain the same more than 35 years later.”

(from Graphic Design Referenced by Bryony Gomez-Palacio and Armin Vit)

I link like a good girl.

A0 Burma poster AW.qxd



No_2_Final [Converted].eps







Bookmark and Share

Subscribe to The Wonderland by Email


About {ths} Mr. Trash

“Who took the ‘T’ into Trash? {ths}. Who is playing songs of Elvis in the background to get weird ideas. {ths} again. Who loves ‘Big ’Uns’, love, sex, rock & roll, girls, hot rod, dirtygraphy, Elvis songs from the ’70s, atom physics, Barry White, chocolate, wrestling, meat, viva Las Vegas, all things shaved, cocktails, horror B-Movies, German beer and rusty machinery halls? Our boy {ths}. Who call his style ‘Trash urban warfare porn dirt style pop’? Yes, {ths}. And who lives in a world of his own – a world in which you do not need a driving licence to drive a Mustang?

Well, that would be {ths} as well. Mr. Trash reproduces the extravagant work of Thomas Schostok {ths}. Raw, dirty, irreverent, uncensored, Mr. Trash spares no cliche, no absurdity in bringing you what the book’s publisher called “world’s strangest ejaculation of graphic design”. Not bound to the field of graphic design, the book represents the last 10 years of his work, blurring art and graphic design. Graphic design, typography, paintings, collage, Gluebooks – all his work in one book. Mr. Trash is an independent book, without the help of a publisher and without censorship. Hail to the King, Baby.”

About Thomas Schostok

The artist Thomas Schostok {ths}, works with graphic design, collage, typography, drawing and painting. His work, reflected by mass cultural boredom, psychological warfare and professional wrestling, his artworks reference both graphic arts and ultimate trash. He lives and works in Germany.

I link like a good girl.






Ok, i’ll add this one last photo just because i fell for its irrelevancy.


Bookmark and Share

Subscribe to The Wonderland by Email