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 1000
JOHN FOSTER INDIE
POSTERS

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 CONTENTS
CONTENTS

06 INTRODUCTION
INTRODUCTION

chapter 1 0009 HANDMADE

HANDMADE,HAND-PULLED
HAND-PULLED

chapter 2 0055 WHAT’S

WHAT’SOLD
OLDISISNEW
NEWAGAIN
AGAIN

chapter 3 103
00 NOW
NOWTHAT’S
THAT’SWHAT
WHATI ICALL
CALLTYPOGRAPHY
TYPOGRAPHY

chapter 4 153
00 WHEN
WHENATATAALOSS,
LOSS,USE
USEAAGIANT
GIANTHEAD
HEAD

chapter 5 203
00 MESSAGES
MESSAGESFOR
FORTHE
THEMASSES
MASSES

chapter 6 257
00 ININCLOSING:
CLOSING:AANEW
NEWBEGINNING
BEGINNING

00 CONTRIBUTOR
314 CONTRIBUTORINDEX
INDEX

00 ABOUT
320 ABOUTTHE
THEAUTHOR
AUTHOR

320 SPECIAL THANKS

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 INTRODUCTION

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I AM A POSTER JUNKIE. Always have been; always will be. My chief worry
in life is which six prints to rotate on my office walls. (At the time of this
writing, I have a Pink Panther litho, a Jesse LeDoux, a Haley Johnson, a
Seripop, a Lichtenstein, and a Keith Haring, with a Jeff Kleinsmith
framed and waiting in the wings.) When I moved my office, not only did
I have to transport well over 1,000 prints, but also it was the only thing
I was worried about. My love for the poster is unending. I often tell
the tale of taking my first studio job based on the abundance of poster
work in the portfolio, only to find out that they hadn’t done one for
nearly a year. I would have to donate my time to local organizations just
to bring one in to lavish with my attention. However, that experience
would heavily inform my desire to show the rest of the world the
wonders being produced.
When I was pitching the book idea for New Masters of Poster
Design years ago (it should be noted that Rockport Publishers
was the only one willing to take the plunge with me), numerous
publishers confirmed my worst fears. The poster was considered
a dead form of communication and a book compiling them
couldn’t possibly sell. It seemed as if I was the only one who could
see the value in what is arguably the most important medium
for design over the last one hundred years. I knew that small
outposts had kept the poster alive with amazing work—even
if it was mostly being done for tiny clients in an underground
fashion. Soon, corporate giants began to adopt the poster as a
point-of-sale tool and the music industry replaced many
of their pieces of merchandise with perhaps the most personal of
all—the gigposter. The email blast and microsite would remain, but it
couldn’t swallow the large printed sheet shining on our walls.
The poster was back.
Since the publication of New Masters, the design world has undergone
numerous upheavals, including a huge return to hand-produced work,
as well as small and personalized productions. A fascination with archaic
printing methods like letterpress and silk-screening, coupled with the
pure, unadulterated satisfaction of producing your final piece using
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7 Introduction
your own hands, has built a cottage industry for poster makers. The movie
poster has even seen resurgence, as not only have the larger studios
produced more challenging visuals, but the drafthouse circuit has
commissioned a new set of jaw-dropping visuals. Political messaging
continues to push and pull the very best out of the world’s designers.
Creatives of all stripes can’t resist the large format and becoming part
of the history of the magical format.
One of the toughest aspects of curating a collection of work is that you
have to leave some of your favorite pieces on the sidelines. When
I was asked to assemble 1,000 Indie Posters, I leapt at the chance
to put together a fuller snapshot of what is happening
in the world of poster design. The funny thing is that I will
inevitably have to do the same thing once again. The wealth
of work is that great. Pouring out of all corners of the world,
posters carry our hopes and dreams, fears and nightmares, joys
and jollies. They serve as a mirror, and reflected in their glory
is a battalion of inspired souls—so many using it as a vehicle
to achieve greatness; so many succeeding.
Just when I think this golden age of the poster has
crested, a 100-foot (30.5 m) wave of bracing visu-
als show me that we are just getting started.
1,000 posters? The next volume might need a million (and
someone will still find it lacking). The most challenging
design work continues to take place on these simple sheets
of paper and there seems to be no end in sight. There is only
one thing that I know for certain: The walls of the world are
a richer place. Now we can say the same about your bookshelf.
Enjoy.
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 chapter 1 >>> 0001–0138

HANDMADE,
HAND-PULLED

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 11 Handmade, Hand-Pulled
0001–0004 > PATENT PENDING DESIGN

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 upper left 0005 > PATENT PENDING DESIGN 00
upper right 0006 > DOE EYED DESIGN
bottom right 0007 > LANNY SOMMESE

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 13 Handmade, Hand-Pulled
0008–0009 > SONNENZIMMER

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 0010–0012 > SONNENZIMMER

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 15 Handmade, Hand-Pulled
> SONNENZIMMER
upper left 0013
right 0014–0016 > LARGEMAMMAL

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 00
0017–0019 > NATE DUVAL

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 17 Handmade, Hand-Pulled
0020 > HAMMERPRESS

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 19 Handmade, Hand-Pulled
0021–0025 > SPUR DESIGN

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 0026 > SPUR DESIGN

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 21 Handmade, Hand-Pulled
upper 0027–0029 > SPUR DESIGN
lower 0030–0031 > THE SMALL STAKES

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 0032–0033 > NICK DUPEY

00

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 23 Handmade, Hand-Pulled
0034–0036 > ZELOOT

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 0037–0040 > F2 DESIGN

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 25 Handmade, Hand-Pulled
0041–0043 > TIM GOUGH

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 0044–0046 > MY ASSOCIATE CORNELIUS 00
lower right 0047 > TODD SLATER

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 27 Handmade, Hand-Pulled
0048–0049 > KATE BINGAMAN-BURT

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 0050–0058 > SERIPOP

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 29 Handmade, Hand-Pulled

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 31 Handmade, Hand-Pulled
0059–0064 > SERIPOP

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 33 Handmade, Hand-Pulled
0065–0075 > YEE-HAW INDUSTRIES

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 35 Handmade, Hand-Pulled
0076–0080 > INVISIBLE CREATURE

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 0081–0084 > BOSS CONSTRUCTION

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 37 Handmade, Hand-Pulled
0085–0090 > EXIT10

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 left 0091–0092 > EXIT10
upper right 0093 > CASEY BURNS

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 39 Handmade, Hand-Pulled
0094–0095 > CASEY BURNS

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41 Handmade, Hand-Pulled
HAMMERPRESS
0096–0101 >
 0102–0107 > SCOTT CAMPBELL

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 43 Handmade, Hand-Pulled

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 00108–0111 > GREG PIZZOLI

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 45 Handmade, Hand-Pulled

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 upper 0112–0113 > DIANA SUDYKA
below 0114 > BENNETT HOLZWORTH

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 47 Handmade, Hand-Pulled
00115–0117 > JAY RYAN

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 > HERO DESIGN
upper left 0118
> THE NEW YEAR
upper right 0119
bottom right 0120 > DIRTY PICTURES

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 49 Handmade, Hand-Pulled
00121–0123 > THE NEW YEAR

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 00124–0126 > ERICK MONTES

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 51 Handmade, Hand-Pulled
bottom left 0127 > YANN LEGENDRE
upper left 0128 > YANN LEGENDRE
botom right 0129 > POST TYPOGRAPHY
bottom center 0130 > POST TYPOGRAPHY

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 0131–0134 > BAD PEOPLE GOOD THINGS

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 53 Handmade, Hand-Pulled
0135–0138 > JEN MUSSARI

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 chapter 2 >>> 0139–0291

WHAT’S OLD
IS NEW AGAIN

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 0139 > METHANE STUDIOS

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 57 What’s Old Is New Again
0140 > 344 DESIGN

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 59 What’s Old Is New Again
0141–0143 > PATENT PENDING DESIGN

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 61 What’s Old Is New Again
0144–0147 > HOMEWORK

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 0148–0149 > JONAS BERGSTRAND

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 63 What’s Old Is New Again
upper left 0150 > JONAS BERGSTRAND
upper right 0151 > DARLING CLEMENTINE
bottom right 0152 > DARLING CLEMENTINE

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 upper left 0153 > THE SILENT GIANTS
upper right 0154 > JAY RYAN

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 65 What’s Old Is New Again
0155–0158 > TOOTH

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 0159–0161 > CROSSHAIR

01

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 67 What’s Old Is New Again
0162–0165 > CYAN

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 0166–0169 > THE HEADS OF STATE

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 69 What’s Old Is New Again
0170–0171 > LUBA LUKOVA

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 71 What’s Old Is New Again
0172–0183 > YANN LEGENDRE

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 0184 > THE SILENT GIANTS 0

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 73 What’s Old Is New Again
0185–0188 > MORNING BREATH INC.

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 0189–0195 > CHUNKLET GRAPHIC CONTROL

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 75 What’s Old Is New Again

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 77 What’s Old Is New Again
0196–0201 > MISS AMY JO

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 upper left 0202 > THE LITTLE FRIENDS OF PRINTMAKING 02
upper right 0203 > THE LITTLE FRIENDS OF PRINTMAKING
bottom center 0204 > ODED EZER
bottom left 0205 > SONNENZIMMER

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 79 What’s Old Is New Again
0206–0207 > SLEEP OP

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 81 What’s Old Is New Again
0208–0220 > EXIT10

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 83 What’s Old Is New Again
0221–0229 > PRINT MAFIA

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 0230–0235 > BAD PEOPLE GOOD THINGS

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 85 What’s Old Is New Again

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 87 What’s Old Is New Again
0236–0243 > THE HEADS OF STATE

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 89 What’s Old Is New Again
0244–0253 > ART CHANTRY DESIGN CO.

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 91 What’s Old Is New Again
0254–0263 > ART CHANTRY DESIGN CO.

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 93 What’s Old Is New Again
0264–0267 > AESTHETIC APPARATUS

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 0268–0269 > EYE NOISE

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 95 What’s Old Is New Again
upper left 0270 > LUCKY BUNNY COMMUNICATIONS
upper right 0271 > BENNETT HOLZWORTH
bottom 0272 > LUCKY BUNNY COMMUNICATIONS

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 bottom left 0273 > THE NEW YEAR
upper left 0274 > THE NEW YEAR
bottom right 0275 > HATCH

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 97 What’s Old Is New Again
bottom left 0276 > JONAS BERGSTRAND
upper left 0277 > SCOTT REIFSNYDER
upper center 0278 > SCOTT REIFSNYDER
upper right 0279 > SCOTT REIFSNYDER
bottom right 0280 > JONAS BERGSTRAND
center 0281 > JONAS BERGSTRAND

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 0282–0287 > DECODER RING DESIGN CONCERN

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 99 What’s Old Is New Again

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 0288 > HERO DESIGN

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 101 What’s Old Is New Again
bottom left 0289 > SCODIOLI CREATIVE
upper left 0290 > DENNY SCHMICKLE
upper right 0291 > HERO DESIGN

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 chapter 3 >>> 0292–0469

NOW THAT’S WHAT I CALL

TYPOGRAPHY

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 0292–0294 > KATJA SCHLOZ

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 105 Now That’s What I Call Typography
bottom left 0295 > BENJAMIN NELSON
upper left 0296 > DOE EYED DESIGN
upper right 0297 > NICK DUPEY

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 107 Now That’s What I Call Typography
0298–0302 > THE HEADS OF STATE

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 0303–0308 > HOAX

03

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 109 Now That’s What I Call Typography
0309–0314 > RAGNAR MÁR NIKULÁSSON

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 bottom left 0315 > IGOR BASTIDAS
upper left 0316 > DANIEL BEMBIBRE
upper right 0317 > THE LITTLE FRIENDS OF PRINTMAKING

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 111 Now That’s What I Call Typography
0318–0321 > GEORGI GEORGIEV

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 upper left 0322 > METHANE STUDIOS
upper right 0323 > METHANE STUDIOS
bottom right 0324 > FRIDA CLEMENTS DESIGN

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 113 Now That’s What I Call Typography
bottom left 0325 > FRIDA CLEMENTS DESIGN
upper left 0326 > FRIDA CLEMENTS DESIGN
upper right 0327 > SONNENZIMMER

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 upper left 0328 > CHUNKLET GRAPHIC CONTROL
upper right 0329 > BALISTIQUE
bottom right 0330 > HORT

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 115 Now That’s What I Call Typography
upper left 0331 > BENDITA GLORIA
upper center 0332 > BENDITA GLORIA
upper right 0333 > BENDITA GLORIA
bottom right 0334 > IGOR BASTIDAS
bottom center 0335 > IGOR BASTIDAS
bottom left 0336 > IGOR BASTIDAS
bottom far left 0337 > IGOR BASTIDAS

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 upper left 0338 > DIANA SUDYKA
upper right 0339 > MAT DALY

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 117 Now That’s What I Call Typography
0340–0342 > MAT DALY

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 bottom left 0343 > MY ASSOCIATE CORNELIUS
upper left 0344 > F2 DESIGN
upper right 0345 > F2 DESIGN

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 119 Now That’s What I Call Typography
bottom left 0346 > MORNING BREATH INC.
upper left 0347 > NATE DUVAL
upper right 0348 > BLANCA GÓMEZ
bottom right 0349 > WERNER DESIGN WERKS

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 121 Now That’s What I Call Typography
0350–0358 > ANDY SMITH ILLUSTRATION

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 0359–0363 > BOSS CONSTRUCTION 0

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 123 Now That’s What I Call Typography
0364–0366 > MODERN DOG DESIGN CO.

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 0367–0369 > MODERN DOG DESIGN CO.

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 125 Now That’s What I Call Typography
0370–0372 > NICK DUPEY

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 bottom left 0373 > CHRIS HENLEY
upper left 0374 > POST TYPOGRAPHY
upper right 0375 > ANA BENAROYA
bottom right 0376 > ANDY BABB

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 127 Now That’s What I Call Typography
bottom left 0377 > DAVID BAILEY
upper left 0378 > CHRIS HENLEY
bottom right 0379 > DAVID BAILEY
bottom center 0380 > DAVID BAILEY

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 0381–0386 > CÔME DE BOUCHONY

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 129 Now That’s What I Call Typography
0387–0388 > TIMOTHY O’DONNELL

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 0389–0393 > TIMOTHY O’DONNELL

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 131 Now That’s What I Call Typography
0394–0395 > PAULA TROXLER

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 0396–0398 > PAULA TROXLER

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 133 Now That’s What I Call Typography
bottom left 0399 > EXIT10
upper left 0400 > PATENT PENDING DESIGN
upper right 0401 > EXIT10
bottom right 0402 > EXIT10
bottom center 0403 > EXIT10

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 04
upper left 0404 > GREG PIZZOLI
upper right 0405 > EYE NOISE

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 135 Now That’s What I Call Typography
0406–0407 > EYE NOISE

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 left 0408 > AESTHETIC APPARATUS
right 0409 > SPIKE PRESS

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 137 Now That’s What I Call Typography
0410–0412 > SPIKE PRESS

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 bottom left 0413 > CYAN
upper left 0414 > F2 DESIGN
upper right 0415 > DESIGN ARMY
bottom right 0416 > DESIGN ARMY
bottom center 0417 > HOMEWORK

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 139 Now That’s What I Call Typography
0418–0419 > FRANÇOIS CASPAR

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 141 Now That’s What I Call Typography
0420–0424 > PEDRAM HARBY

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 143 Now That’s What I Call Typography
0425–0431 > ROY BURNS

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 145 Now That’s What I Call Typography
bottom left 0437 > ODED EZER
upper left 0438 > FONS HICKMANN M23
upper right 0439 > FONS HICKMANN M23
bottom center 0440 > ODED EZER

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 147 Now That’s What I Call Typography
0441–0451 > ODED EZER

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 0452–0457 > ZWÖLF

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 149 Now That’s What I Call Typography
bottom left 0458 > DECODER RING DESIGN CONCERN
upper left 0459 > ZWÖLF
upper right 0460 > ZWÖLF

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 bottom left 0461 > RONALD J. CALLA II
upper left 0462 > JONAS BERGSTRAND
upper right 0463 > 344 DESIGN

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 151 Now That’s What I Call Typography
0464–0469 > STAYNICE

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006-320_20072.indd 152 17/08/2010 9:10 PM
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chapter 4 >>> 0470–0617

WHEN AT A LOSS,
USE A GIANT HEAD
 155 When At a Loss, Use a Giant Head
0470–0477 > ZACH HOBBS

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 0478–0479 > ZACH HOBBS

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 157 When At a Loss, Use a Giant Head
upper left 0480 > STEADY PRINT SHOP CO.
upper right 0481 > STEADY PRINT SHOP CO.
bottom right 0482 > LARGEMAMMAL

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 159 When At a Loss, Use a Giant Head
0483–0491 > ART CHANTRY DESIGN CO.

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 0492–0493 > PATENT PENDING DESIGN

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 161 When At a Loss, Use a Giant Head
upper left 0494 > PATENT PENDING DESIGN
upper right 0495 > METHANE STUDIOS

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 163 When At a Loss, Use a Giant Head
0499 > THE HEADS OF STATE

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 0500–0502 > F2 DESIGN

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 165 When At a Loss, Use a Giant Head
0503–504 > NATE DUVAL

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 167 When At a Loss, Use a Giant Head
0505–509 > JAY VOLLMAR

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 169 When At a Loss, Use a Giant Head
0510–518 > BAD PEOPLE GOOD THINGS

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 171 When At a Loss, Use a Giant Head
0524–526 > PAULA TROXLER

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 bottom left 0527 > HUIZAR 1984
upper left 0528 > SLEEP OP
upper right 0529 > THE SILENT GIANTS
bottom center 0530 > HUIZAR 1984

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 173 When At a Loss, Use a Giant Head
upper left 0531 > SCOTT CAMPBELL
upper right 0532 > 344 DESIGN
bottom right 0533 > HENDERSONBROMSTEADART

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 175 When At a Loss, Use a Giant Head
0536–0539 > ADRIAN JOHNSON

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 0540–0541 > JOANNA WECHT

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 177 When At a Loss, Use a Giant Head
upper left 0542 > JOANNA WECHT
upper right 0543 > BOSS CONSTRUCTION
bottom right 0544 > BOSS CONSTRUCTION
bottom center 0545 > JOANNA WECHT

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 179 When At a Loss, Use a Giant Head
0549–0550 > PRINT MAFIA

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 upper left 0551 > HATCH
upper right 0552 > MY ASSOCIATE CORNELIUS

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 181 When At a Loss, Use a Giant Head
0553–0555 > MY ASSOCIATE CORNELIUS

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 183 When At a Loss, Use a Giant Head
upper left 0559 > FONS HICKMANN M23
upper right 0560 > EYE NOISE

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 185 When At a Loss, Use a Giant Head
0561–0565 > SPUR DESIGN

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 bottom left 0566 > TIM GOUGH
upper left 0567 > SPIKE PRESS
upper right 0568 > TIM GOUGH

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 187 When At a Loss, Use a Giant Head
0569—0571 > TIM GOUGH

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 189 When At a Loss, Use a Giant Head
upper left 0576 > DIANA SUDYKA
upper right 0577 > FRIDA CLEMENTS DESIGN

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 0578–0583 > HOMEWORK

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 191 When At a Loss, Use a Giant Head

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 bottom left 0584 > ANDREW LEWIS DESIGN
middle left 0585 > ANDREW LEWIS DESIGN
bottom right 0586 > FRANÇOIS CASPAR
bottom center 0587 > ANDREW LEWIS DESIGN

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 193 When At a Loss, Use a Giant Head
bottom left 0588 > BENDITA GLORIA
upper left 0589 > WERNER DESIGN WERKS
upper center 0590 > YEE-HAW INDUSTRIES
bottom right 0591 > BENDITA GLORIA
bottom center 0592 > BENDITA GLORIA

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 0593–0596 > THE LITTLE FRIENDS OF PRINTMAKING

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 195 When At a Loss, Use a Giant Head

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 197 When At a Loss, Use a Giant Head
0598–0602 > SUSSNER DESIGN CO.

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 bottom left 0603 > LANNY SOMMESE
upper left 0604 > CÔME DE BOUCHONY
upper center 0605 > CÔME DE BOUCHONY
upper right 0606 > CÔME DE BOUCHONY
bottom right 0607 > LANNY SOMMESE
bottom center 0608 > LANNY SOMMESE

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 199 When At a Loss, Use a Giant Head
bottom left 0609 > LANNY SOMMESE
upper left 0610 > NODIVISION
bottom right 0611 > GREG BENNETT
bottom center 0612 > GREG BENNETT

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 left 0613 > TODD SLATER
upper right 0614 > NICK DUPEY
bottom right 0615 > NICK DUPEY

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 201 When At a Loss, Use a Giant Head
0616–0617 > HORT

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 chapter 5 >>> 0618–0836

MESSAGES
FOR THE MASSES

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 0618–0621 > HATCH

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 205 Messages for the Masses
top 0622–0629 > HATCH
bottom right 0630 > LANNY SOMMESE

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 0631–0635 > LANNY SOMMESE

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 207 Messages for the Masses
bottom left 0636 > MOTHERBIRD
upper left 0637 > KATJA SCHLOZ
upper center 0638 > GEORGI GEORGIEV
upper right 0639 > STRAWBERRYLUNA
bottom right 0640 > MOTHERBIRD
bottom center 0641 > MOTHERBIRD

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 209 Messages for the Masses
0642–0653 > MOTHERBIRD

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 left 0654 > SLEEP OP
upper right 0655 > SLEEP OP
bottom right 0656 > DECODER RING DESIGN CONCERN

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 211 Messages for the Masses
bottom left 0657 > DEPARTEMENT
upper left 0658 > DECODER RING DESIGN CONCERN
upper center 0659 > DECODER RING DESIGN CONCERN
upper right 0660 > DECODER RING DESIGN CONCERN
bottom center 0661 > DEPARTEMENT

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 213 Messages for the Masses
bottom left 0668 > ANDY SMITH ILLUSTRATION
upper left 0669 > THE NEW YEAR
right 0670 > THE NEW YEAR

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 left 0671 > STEADY PRINT SHOP CO.
upper right 0672 > JEFF KLEINSMITH DESIGN

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 215 Messages for the Masses
upper left 0673 > MORNING BREATH INC.
upper right 0674 > MORNING BREATH INC.
bottom right 0675 > THE SILENT GIANTS

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 left 0676 > MORNING BREATH INC.
upper right 0677 > CÔME DE BOUCHONY
bottom right 0678 > CÔME DE BOUCHONY

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 217 Messages for the Masses
upper left 0679 > CÔME DE BOUCHONY
right 0680 > JONAS BERGSTRAND

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 0681–0685 > LURE

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 219 Messages for the Masses
0686–0690 > GRIDULA

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 bottom left 0691 > DESIGN ARMY
upper left 0692 > YANN LEGENDRE
upper center 0693 > YANN LEGENDRE
bottom right 0694 > DESIGN ARMY
bottom center 0695 > DESIGN ARMY

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 221 Messages for the Masses
0696–0698 > DESIGN ARMY

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 223 Messages for the Masses
0699–0710 > HENDERSONBROMSTEADART

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 0711–0714 > HUIZAR 1984

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 225 Messages for the Masses
bottom left 0715 > SUSSNER DESIGN CO.
upper left 0716 > SPIKE PRESS
right 0717 > SUSSNER DESIGN CO.

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 227 Messages for the Masses
0722–0725 > FONS HICKMANN M23

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 229 Messages for the Masses
0726–0730 > FONS HICKMANN M23

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 231 Messages for the Masses
0731–0738 > CHRIS BILHEIMER

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 0739 > INVISIBLE CREATURE

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 233 Messages for the Masses
bottom left 0740 > INVISIBLE CREATURE
upper left 0741 > INVISIBLE CREATURE
upper right 0742 > TODD SLATER
bottom center 0743 > TODD SLATER

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 upper left 0744 > GREG BENNETT
upper right 0745 > GREG BENNETT
bottom right 0746 > FANG CHEN
bottom center 0747 > FANG CHEN

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 235 Messages for the Masses
0748–0751 > THE HEADS OF STATE

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 237 Messages for the Masses
upper 0756–0759 > EXIT10
bottom 0760–0761 > STUBBORN SIDEBURN

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 bottom left 0762 > WERNER DESIGN WERKS
upper left 0763 > WERNER DESIGN WERKS
upper center 0764 > WINK, INC.
upper right 0765 > WINK, INC.
bottom right 0766 > WINK, INC.
bottom center 0767 > WINK, INC.

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 239 Messages for the Masses
0768–0770 > WINK, INC.

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 241 Messages for the Masses
0771–0782 > THE SMALL STAKES

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 243 Messages for the Masses
0787–0791 > RYAN RUSSELL

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 left 0792 > DIRTY PICTURES
upper right 0793 > DIRTY PICTURES
bottom right 0794 > YEE-HAW INDUSTRIES

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 245 Messages for the Masses
0795–0797 > DIRTY PICTURES

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 247 Messages for the Masses
0799–0804 > RONALD J. CALLA II

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 249 Messages for the Masses
0805–0810 > ADAMSMORIOKA

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 251 Messages for the Masses
0814–0818 > ANDY COOKE

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 253 Messages for the Masses
0819–0826 > LUBA LUKOVA

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 0827–0836 > PEDRAM HARBY

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 255 Messages for the Masses

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 chapter 6 >>> 0837–1000

IN CLOSING:
A NEW BEGINNING

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 259 In Closing: A New Beginning
0837–0846 > HORT

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 261 In Closing: A New Beginning
0847–0848 > HORT

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 0849 > BENJAMIN NELSON

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 263 In Closing: A New Beginning
upper left 0850 > MORNING BREATH INC.
upper right 0851 > CERNOCH

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 265 In Closing: A New Beginning
0852–0856 > TEENBEAT GRAFICA

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 267 In Closing: A New Beginning
bottom left 0859 > ANDY SMITH ILLUSTRATION
upper left 0860 > WINK, INC.
upper center 0861 > WINK, INC.
bottom center 0862 > ANDY SMITH ILLUSTRATION

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 269 In Closing: A New Beginning
0863–0868 > CYAN

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 271 In Closing: A New Beginning
0869–0877 > POST TYPOGRAPHY

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 upper left 0878 > POST TYPOGRAPHY
upper right 0879 > AESTHETIC APPARATUS
bottom right 0880 > POST TYPOGRAPHY

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 273 In Closing: A New Beginning
0881 > AESTHETIC APPARATUS

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 275 In Closing: A New Beginning
0885–0889 > FANG CHEN

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 0890–0893 > MODERN DOG DESIGN CO.

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 277 In Closing: A New Beginning
0894–0895 > SCOTT CAMPBELL

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 279 In Closing: A New Beginning
0899–0900 > SLEEP OP

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 281 In Closing: A New Beginning
0901–904 > HOMEWORK

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 0905 > HOMEWORK

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 283 In Closing: A New Beginning
0906–0907 > YANN LEGENDRE

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 285 In Closing: A New Beginning
0908–0913 > JEWBOY CORPORATION

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 287 In Closing: A New Beginning
0914–0918 > JEWBOY CORPORATION

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 0919–0920 > SPIKE PRESS

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 289 In Closing: A New Beginning
0921–0925 > PATENT PENDING DESIGN

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 upper left 0926 > VHAN KIM
upper right 0927 > ANDY COOKE
bottom right 0928 > ANDY COOKE

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 291 In Closing: A New Beginning
0929–0932 > SONNENZIMMER

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 bottom left 0933 > DIRTY PICTURES
upper left 0934 > INVISIBLE CREATURE
upper right 0935 > MY ASSOCIATE CORNELIUS

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 293 In Closing: A New Beginning
0936–0940 > TIM GOUGH

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 upper left 0941 > PATENT PENDING DESIGN
upper right 0942 > CHRIS HENLEY
bottom right 0943 > TOOTH

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 295 In Closing: A New Beginning
0944–0945 > SUSSNER DESIGN CO.

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 > ANA BENAROYA
upper left 0946
upper center 0947> ANA BENAROYA
right 0948 > DIRTY PICTURES
bottom center 0949 > DIRTY PICTURES

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 297 In Closing: A New Beginning
0950–0952 > NICK DUPEY

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 0953–0956 > LANNY SOMMESE

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 299 In Closing: A New Beginning
0957–0959 > STRAWBERRYLUNA

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 0960–0962 > JOANNA WECHT

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 301 In Closing: A New Beginning
bottom left 0963 > FRIDA CLEMENTS DESIGN
upper left 0964 > JOANNA WECHT
upper right 0965 > JOANNA WECHT

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 303 In Closing: A New Beginning
0966–0969 > THE HEADS OF STATE

9/7/10 10:11 AM
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 0970–0973 > ANDY BABB

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 305 In Closing: A New Beginning
0974–0976 > ZELOOT

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 307 In Closing: A New Beginning
0977–0978 > ZELOOT

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 0979–0983 > GREG BENNETT bo
up
up
bo

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 309 In Closing: A New Beginning
bottom left 0984 > ANDREW LEWIS DESIGN
upper center 0985 > ANDREW LEWIS DESIGN
upper right 0986 > BALISTIQUE
bottom center 0987 > ANDREW LEWIS DESIGN

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 0988–0991 > NODIVISION

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 311 In Closing: A New Beginning
0992–0997 > EXIT10

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 313 In Closing: A New Beginning
0998–1000 > EXIT10

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 CONTRIBUTOR INDEX
344 DESIGN DAVID BAILEY CHRIS BILHEIMER
www.344design.com www.itsmountpleasant.com www.bilheimer.com
0140, 0463, 0532 0377, 0379, 0380 0731–0738

ADAMSMORIOKA BALISTIQUE KATE BINGAMAN-BURT

www.adamsmorioka.com www.balistique.ca www.katebingamanburt.com
0805–0810 0329, 0986 0048–0049

AESTHETIC APPARATUS IGOR BASTIDAS BOSS CONSTRUCTION

www.aestheticapparatus.com www.gib.com.ve www.bossconstruct.com
0264–0267, 0408, 0546–0548, 0315, 0334–0337 0081–0084, 0359–0363, 0543–0544
0879, 0881
DANIEL BEMBIBRE CASEY BURNS
ANDREW LEWIS DESIGN www.danielbembibre.com www.caseyburns.com
www.alewisdesign.com 0316 0093–0095
0584–0585, 0587, 0720–0721,
0984–0985, 0987 ANA BENAROYA ROY BURNS
www.anabenaroya.com www.tenonefive.com
ANDY SMITH ILLUSTRATION 0375, 0946–0947 0425–0431
www.asmithillustration.com
0350–0358, 0668, 0859, 0862 BENDITA GLORIA RONALD J. CALA II
www.benditagloria.com www.i2iart.com/cala
ART CHANTRY DESIGN CO. 0331–0333, 0588, 0591–0592 0461, 0799–0804
www.artchantrydesign.com
0244–0263, 0483–0491 GREG BENNETT SCOTT CAMPBELL
www.worktodate.com www.scttcmpbll.com
ANDY BABB 0611–0612, 0744–0745, 0979–0983 0102–0107, 0519, 0531, 0894–0895
www.andybabb.com
0376, 0970–0973 JONAS BERGSTRAND FRANçOIS CASPAR
www.jonasbergstrand.com www.francoiscaspar.com
BAD PEOPLE GOOD THINGS 0148–0150, 0276, 0280–0281, 0418, 0419, 0586, 0783–0784
www.badpeoplegoodthings.com 0462, 0680
0131–0134, 0230–0235, 0510–0518

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 315 Contributor Index
CERNOCH DEPARTEMENT F2 DESIGN
www.cernochdesign.com www.departement.ca www.f2-design.com
0851 0657, 0661–0667 0037–0040, 0344–0345, 0414,
0500–0502
FANG CHEN DESIGN ARMY

0746–0747, 0885–0889 www.designarmy.com FONS HICKMANN M23

0415–0416, 0534–0535, 0691, www.fonshickmann.com
CHUNKLET GRAPHIC CONTROL 0694–0698 0438–0439, 0559, 0722–0730
www.chunkletgraphiccontrol.com
0189–0195, 0328 DIRTY PICTURES
FRIDA CLEMENTS DESIGN
www.ant-hive.com www.drawntotheleft.com
CôME DE BOUCHONY 0120, 0496, 0792–0793, 0795–0797, 0324–0326, 0577, 0963
www.comedebouchony.com 0933, 0948–0949
0381–0386, 0604–0606, 0677–0679 GEORGI GEORGIEV
DOE EYED DESIGN
ANDY COOKE www.doe-eyed.com 0318–0321, 0638
www.andy_cooke.com 0006, 0296 BLANCA GóMEZ
0814–0818, 0927–0928 www.cosasminimas.com
NICK DUPEY
CROSSHAIR www.weareyoungmonster.com 0348
www.crosshairchicago.com 0032, 0033, 0297, 0370–0372, TIM GOUGH
0159–0161 0614–0615, 0950–0952 www.timgough.org
CYAN NATE DUVAL
0041–0043, 0566, 0568–0571,
www.cyan.de www.nateduval.com 0936–0940
0162–0165, 0413, 0718–0719, 0017–0019, 0347, 0503–0504 GRIDULA
0863–0868 www.gridula.co.uk
EXIT10
MAT DALY
0686–0690
www.exit10.com
www.matdaly.com 0085–0092, 0208–0220, 0399, HAMMERPRESS
0339–0342 0401–0403, 0756–0759, 0992–1000 www.hammerpress.net
DARLING CLEMENTINE
0020, 0096–0101
EYE NOISE
www.darlingclementine.no www.eyenoise.net PEDRAM HARBY
0151–0152 0268–0269, 0405–0407, 0560 www.pedram–harby.com
DECODER RING DESIGN CONCERN
0420–0424, 0827–0836
ODED EZER
www.thedecoderring.com www.odedezer.com HATCH
0282–0287, 0458, 0656, 0204, 0437, 0440–0451 www.hatchsf.com
0658–0660 0275, 0551, 0618–0629

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 THE HEADS OF STATE INVISIBLE CREATURE LUBA LUKOVA BE
www.theheadsofstate.com www.invisiblecreature.com www.lukova.net w
0166–0169, 0236–0243, 0298–0302, 0076–0080, 0556–0558, 0170–0171, 0819–0826 02
0499, 0748–0751, 0966–0969 0739–0741, 0934
LURE TH
HENDERSONBROMSTEADART JEWBOY CORPORATION www.luredesigninc.com w
www.hendersonbromsteadart.com www.jewboy.co.il 0681–0685 01
0533, 0699–0710 0908–0918 06
METHANE STUDIOS
CHRIS HENLEY ADRIAN JOHNSON www.methanestudios.com RA
www.24exp.co.uk www.adrianjohnson.co.uk 0139, 0322–0323, 0495, 0882–0884 w
0373, 0378, 0942 0536–0539, 0857–0858 03
MISS AMY JO
HERO DESIGN VHAN KIM www.missamyjo.com NO
www.heroandsound.com www.vhan-artwork.com 0196–0201 w
0118, 0288, 0291, 0572–0575 0926 06
MODERN DOG DESIGN CO.
HOAX JEFF KLEINSMITH DESIGN www.moderndog.com TIM
www.hoaxhoaxhoax.com www.jeffkleinsmith.com 0364–0369, 0890–0893 w
0303–0308 0672 03
ERICK MONTES
ZACH HOBBS LARGEMAMMAL www.thedecoderring.com PA
www.weareyoungmonster.com www.largemammalprint.com 0124–0126 w
0470–0479 0014–0016, 0482 00
MORNING BREATH INC. 04
BENNETT HOLZWORTH YANN LEGENDRE www.morningbreathinc.com
www.typebpress.com www.yannlegendre.com 0185–0188, 0346, 0673–0674, GR
0114, 0271 0127–0128, 0172–0183, 0676, 0850 w
0692–0693, 0906–0907 01
HOMEWORK MOTHERBIRD
www.homework.com.pl RON LIBERTI www.motherbird.com.au PO
0144–0147, 0417, 0578–0583, www.ronliberti.awwwesome.com 0636, 0640–0653 w
0901–0905 0521–0523 01
JEN MUSSARI 08
HORT THE LITTLE FRIENDS OF PRINTMAKING www.jenmussari.com
www.hort.org.uk www.thelittlefriendsofprintmaking.com 0135–0138 PR
0330, 0616–0617, 0798, 0837–0848 0202–0203, 0317, 0593–0596, w
0752–0755 MY ASSOCIATE CORNELIUS 02
HUIZAR 1984 www.myassociatecornelius.com
www.huizar1984.com LUCKY BUNNY COMMUNICATIONS 0044–0046, 0343, 0552–0555, SC
0527, 0530, 0711–0714 www.luckybunny.net 0935 w
0270, 0272 02

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 317 Contributor Index
BENJAMIN NELSON RYAN RUSSELL THE SMALL STAKES
www.bnelsonartdesign.blogspot.com 0787–0791 www.thesmallstakes.com
0295, 0849 0030–0031, 0771–0782, 0785–0786
JAY RYAN
THE NEW YEAR LANNY SOMMESE
www.thebirdmachine.com
www.thisisthenewyear.com 0115–0117, 0154, 0811–0813 0007, 0603, 0607–0609, 0630–0635,
0119, 0121–0123, 0273–0274, 0953–0956
0669–0670 SAGMEISTER INC.
SONNENZIMMER
www.sagmeister.com
RAGNAR MÁR NIKULÁSSON
0432–0436 www.sonnenzimmer.com
www.ragnarmar.com 0008–0013, 0205, 0327, 0929–0932
0309–0314 KATJA SCHLOZ
SPIKE PRESS
www.katjaschloz.de
NODIVISION
0292–0294, 0637 www.spikepress.com
www.wearenodivision.blogspot.com 0409–0412, 0567, 0716, 0919–0920
0610, 0988–0991 DENNY SCHMICKLE
SPUR DESIGN
www.dennyschmickle.com
TIMOTHY O’DONNELL
0290, 0520 www.spurdesign.com
www.timothy-odonnell.com 0021–0029, 0561–0565
0387–0393 SCODIOLI CREATIVE
STAYNICE
www.scodioli.etsy.com
PATENT PENDING DESIGN
0289 www.staynice.nl
www.patentpendingindustries.com 0464–0469
0001–0005, 0141–0143, 0400, SERIPOP
0492–0494, 0921–0925, 0941 STEADY PRINT SHOP CO.
www.seripop.com
0050–0064 www.steadyprintshop.com
GREG PIZZOLI 0480–0481, 0671
www.gregpizzoli.com THE SILENT GIANTS
0108–0111, 0404 STRAWBERRYLUNA
www.thesilentgiants.com www.strawberryluna.com
POST TYPOGRAPHY
0153, 0184, 0529, 0675 0639, 0957–0959
www.posttypography.com TODD SLATER
0129–0130, 0374, 0869–0878, STUBBORN SIDEBURN
www.toddslater.net www.stubbornsideburn.com
0880 0047, 0613, 0742–0743 0760–0761, 0896–0898
PRINT MAFIA
SLEEP OP
www.printmafia.net DIANA SUDYKA
www.sleepop.com www. dianasudyka.com
0221–0229, 0549–0550, 0597 0206–0207, 0528, 0654–0655, 0112–0113, 0338, 0576
SCOTT REIFSNYDER
0899–0900
www.seescotty.com
0277–0279

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 SUSSNER DESIGN CO. JAY VOLLMAR YEE-HAW INDUSTRIES
www.sussner.com www.jayvollmar.com www.yeehawindustries.com
0598–0602, 0715, 0717, 0944–0945 0505–0509 0065–0075, 0590, 0794

TEENBEAT GRAPHICA JOANNA WECHT ZELOOT

www.mmarkk.com www.joannawecht.com www.zeloot.nl
0852–0856 0540–0542, 0545, 0960–0962, 0034–0036, 0497–0498, 0974–0978
0964–0965
TOOTH ZWöLF
www.ramenroyale.com WERNER DESIGN WERKS www.zwoelf.net
0155–0158, 0943 www.wdw.com 0452–0457, 0459–0460
0349, 0589, 0762–0763
PAULA TROXLER
www.paulatroxler.com WINK, INC.
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 319 Contributor Index

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 ABOUT

PHOTOS BY GINA KANG

About the Author
John Foster is a designer and writer in Washington, D.C, as the principal and
superintendent of Bad People Good Things LLC. He is the author of Dirty
Fingernails: A One-of-a-Kind Collection of Graphics Uniquely Designed by Hand
(Rockport), For Sale: Over 200 Innovative Solutions in Packaging Design (HOW
Books), New Masters of Poster Design (Rockport), Maximum Page Design (HOW
Books), as well as an upcoming monograph on the work of Jeff Kleinsmith for
Sub Pop Records. He writes a weekly column on music packaging, “Judging a
Cover by Its Cover,” for brightestyoungthings.com, and he performs musically
under the guise of Sad Crocodile. He is an international speaker on design
issues and has appeared several times at the world’s largest design gathering,
the HOW Design Conference. His work has appeared in every major industry
publication, and he is the proud recipient of a Gold Medal from the Art Directors
Club of Metropolitan Washington and a Best in Show from the ADDYs. His
work has been shown in galleries all over the globe and is also a part of the
Smithsonian’s permanent collection. Foster resides in Maryland with his lovely
wife and daughter and two of the world’s goofiest foxhounds.

Special Thanks:
Thanks to my enormous and ever-growing family, especially my wife, Suzanne,
and amazing daughter, Lily! My talented intern Gina Kang. Winnie Prentiss,
Mary Ann Hall, David Martinell, Betsy Gammons, Cora Hawks, and everyone
at Rockport Publishers. Svetlana Legetic, Cale Charney, and everyone at BYT.
Clive Solomon and James Nicholls at Fire Records, my old friends Bill
Vierbuchen, Dave Bradbury, Chad Lafley, Rich Westbrook, and many more
I am forgetting—you all have a sloppy kiss accompanied by beard burn in your
immediate future. You can’t make a book like this without a cadre of talented
designers to draw on—so thank you to everyone included in this collection.
I adore you all.

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 © 2011 by Rockport Publishers, Inc.

All rights reserved. No part of this book may be reproduced in any form without written permission of the copyright
owners. All images in this book have been reproduced with the knowledge and prior consent of the artists concerned,
and no responsibility is accepted by producer, publisher, or printer for any infringement of copyright or otherwise,
arising from the contents of this publication. Every effort has been made to ensure that credits accurately comply with
information supplied. We apologize for any inaccuracies that may have occurred and will resolve inaccurate or missing
information in a subsequent reprinting of the book.

First published in the United States of America by

Rockport Publishers, a member of Quayside Publishing Group
100 Cummings Center, Suite 406-L, Beverly, Massachusetts 01915-6101
Telephone: (978) 282-9590
Fax: (978) 283-2742
www.rockpub.com

Digital edition: 978-1-61060-151-1

Softcover edition: 978-1-59253-656-6

Library of Congress Control Number 2010933487

ISBN-13: 978-1-59253-656-6
ISBN-10: 1-59253-656-5

10 9 8 7 6 5 4 3 2 1

Design: John Foster, Bad People Good Things LLC

www.badpeoplegoodthings.com

Printed in China

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