Klaus Haapaniemi

Dense, bright, folk art, happy, russian, fairy tales, eastern, colourful, decorative.
b. in Finland. based in London, UK [h]

Kristian Russell

London, UK/ Stockholm, Sweden

Sanna Annukka


The bold shapes and detailing all reflect the simple beauty of Finland. A love of traditional techniques means most designs are hand-drawn, layered and then screen-printed to create her trademark patterns.—Sanna Annukka is a half Finnish and half English illustrator and printmaker with a love for folklore and nature. She graduated with a BA Hons in Illustration from the University of Brighton in July 2005 and is currently based in London.

Jim Stoten

London, UK

Kam Tang

'Wax on radio'
London, UK


'Miss Alphabet', 
Sheriff= Peter Umgeher + Georg Schnitzer

Andrei Robu

'I am a multidisciplinary artist currently living and working in Bucharest as a lead designer and partner at the graphic design offices of Acme Industries. Although I gained a BA in graphic design, I consider myself to be self-taught.

My first contact with art was in kindergarten where we were shown different drawing techniques with coloured pencils. Although I had no idea what I was doing I just started drawing. The moment I decided to be a designer was the exact same moment I graduated High School.

I’ve always been fascinated with the exploration of new shapes and new typefaces. Essentially, I’ve never quit doing typography ever since I learned how to write. It later evolved in graffiti, tattoos and towards digital.' [h]


Tom Wesselmann

Smoker, 1 (Mouth, 12) 1967
Tom Wesselmann (1931-2004)
*Image originally uploaded by the science of design.

IS: Did you get any complaints on your mouth paintings at all?

TW: No. A lot of people refer to the mouth paintings -- I think it's a cliche -- as being erotic, because the smoke is erotic. You see, erotic to me is sex; erotic isn't convoluted curves to me or things like that. So I've always had that difference of opinion with a lot of people out there.

IS: Oh.

TW: Now, I could find the parted lips somewhat erotic, I guess. To a certain extent I'm fooling myself because I'm saying these things aren't erotic because I don't want them to be erotic. Because I didn't create them to be erotic. It's true I've maybe spoken of them as being potentially erotic -- no, that was another thing. It was a post-coital hand, a painting I still haven't done yet. It was a hand lying there with a cigarette in it, like a post-coital cigarette, a corny cliche sort of thing. That is more erotic to me than the smoker's eroticism which is an accidental by-product because I didn't do them to be erotic. I did them because I was intrigued with smoke and coming in close on the mouth. I didn't start the mouth paintings to be erotic. I started them to be just a mouth, that's all. In fact they weren't erotic -- they were a smiling mouth, a grinning mouth, and then there was an open mouth. That was meant to be erotic. I was doing a mouth with a tongue out. I never finished that thing. That was meant to be erotic. So the erotic came into it, but it (...) runs in and out of it.

Oral history: Tom Wesselmann interviewed by Irving Sandler.