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Hugo Puttaert (Brussels, 3 April 1960) is a graphic designer, organizer, teacher and editor based in the greater Brussels area, Belgium.
Puttaert studied fine arts (printmaking) at Sint-Lukas Brussel and did his teacher training at Sint-Lucas Gent. Soon after graduating in 1981 he began teaching at the Fine Arts Academy in Halle.
During his studies already and in the early 1980s after his graduation, he exhibited his graphic work, his artwork and installations in various cultural centres and galleries in Belgium and abroad. In time he combined traditional graphic techniques with digital technologies and began making more applied graphic work (posters, brochures and house styles). Thanks to his work for IT company Dolmen he was able to experience the emergence of desktop publishing in Belgium from a privileged position. His attention to free and applied graphic design continued to the end of the 1980s, when he chose to focus on graphic design. [1]
Puttaert set up his own graphic design studio Visionandfactory in 1990, its staff reaching up to 12 people. Hugo Puttaert and visionandfactory have worked as designers and consultants for a wide range of businesses and cultural organisations.
Work by Hugo Puttaert and Visionandfactory has been published in design magazines and yearbooks including Package & Design (China), Print European Design Annual (USA), Emigre magazine (USA), Novum, world of graphic design (Germany), Graphis Yearbooks (Switzerland, USA) and Graphics International (London, UK) and many more. Their work received several nominations at Belgium's Henry van de Velde design prize, and was shortlisted in the New York Art Director's Club's annual competition (V&F corporate identity).
He teaches at St Lucas University College of Art and Design in Antwerp, [2] the art and design department of the Karel de Grote-Hogeschool, where he was from 2012 till 2018 head of the Graphic Design department and coordinated the YellowPress publication research platform. He regularly appears as a guest lecturer in Belgium and abroad.
He was moreover (till 2019)the organizer of the bi-annual international conference Integrated, [3] of which the first edition took place in November 2007 at the international art campus deSingel in Antwerp, Belgium.
He is also a publisher and editor. He has written various texts on graphic design and related subjects. Since 2005, he has been the editor-in-chief and creative director of Addmagazine.be, [4] a Belgian magazine that focuses on graphic design from Belgium and elsewhere, and published by Papyrus.
In 2024, he founded Not.Yet Publishers, an independent, non-profit publishing house that aims to deepen the canon of graphic design by publishing books on graphic design, practice-based research in art and design courses, and hybrid collaborations in which the graphic designer acts as initiator and curator.
In 2014 Publisher MER Paper Kunsthalle published a book on his work, Think in Colour. [5] The introduction was written by publicist and critic Rick Poynor. An accompanying website [6] provides more detailed information on the purpose of the book and its creation. The book has a technical specificity: heating the cover will reveal the underlying colour and text.
Not Yet. Publishers published the book Geometrically Speaking in 2014. The book showcases nearly a thousand logo designs by Hugo Puttaert and his studio visionandfactory, spanning 30 years. The foreword was written by Thomas Crombez. Puttaert wrote the critical essay The beneficial effect of ‘no’.
In 2015, a new bicycle shed was inaugurated at Antwerp-Berchem station. Commissioned by NMBS and in collaboration with designer Jelle Maréchal, Puttaert realised a typographic intervention in the building. The concept of this intervention subtly plays with the user's experience of the bicycle parking building. Only inside the building are the letters legible, as the lower part of each letter is painted on the floor of the building. Outside, passers-by and drivers see only abstract signs. For this commission, Hugo Puttaert and Jelle Maréchal designed a monospace font, Berchem Folded Sans.
Henry Clemens van de Velde was a Belgian painter, architect, interior designer, and art theorist. Together with Victor Horta and Paul Hankar, he is considered one of the founders of Art Nouveau in Belgium. He worked in Paris with Siegfried Bing, the founder of the first gallery of Art Nouveau in Paris. Van de Velde spent the most important part of his career in Germany and became a major figure in the German Jugendstil. He had a decisive influence on German architecture and design at the beginning of the 20th century.
Vaughan Oliver was a British graphic designer based in Epsom, Surrey. Oliver was best known for his work with graphic design studios 23 Envelope and v23. Both studios maintained a close relationship with record label 4AD between 1982 and 1998 and gave distinct visual identities for the 4AD releases by many bands, including Mojave 3, Lush, Cocteau Twins, The Breeders, This Mortal Coil, Pale Saints, Pixies, and Throwing Muses. Oliver also designed record sleeves for such artists as David Sylvian, The Golden Palominos, and Bush.
Ever Meulen is a Belgian illustrator, caricaturist and comic strip artist. His pseudonym is based on his name E. Vermeulen.
Alan Gerard Fletcher was a British graphic designer. In his obituary, he was described by The Daily Telegraph as "the most highly regarded graphic designer of his generation, and probably one of the most prolific".
Hogeschool Sint-Lukas Brussel is an independent Flemish art school based in the Schaerbeek municipality of Brussels, Belgium. It is a predominantly Dutch-speaking institution located on the Paleizenstraat/Rue de Palais, and at another site, within reachable distance of Brussels' North Station.
Michael Bierut is a graphic designer, design critic and educator, who has been a partner at design firm Pentagram since 1990. He designed the logo for Hillary Clinton's 2016 presidential campaign.
Michaël Borremans is a Belgian painter and filmmaker who lives and works in Ghent. His painting technique draws on 18th-century art, as well as the works of Édouard Manet and Degas. The artist also cites the Spanish court painter Diego Velázquez as an important influence. In recent years, he has been using photographs he has made himself or made-to-order sculptures as the basis for his paintings.
Mark Manders is a Dutch artist, currently living and working in Ronse, Belgium. His work consists mainly of installations, drawings and sculptures. He is probably best known for his large bronze figures that look like rough-hewn, wet or peeling clay. Typical of his work is also the arrangement of random objects, such as tables, chairs, light bulbs, blankets and dead animals.
The Royal Academy of Fine Arts Antwerp is an art academy located in Antwerp, Belgium. It is one of the oldest of its kind in Europe. It was founded in 1663 by David Teniers the Younger, painter to the Archduke Leopold Wilhelm and Don Juan of Austria. Teniers was master of the Guild of St Luke—which embraced arts and some handicrafts—and petitioned Philip IV of Spain, then master of the Spanish Netherlands, to grant a royal charter to establish a Fine Arts Academy in Antwerp. It houses the Antwerp Fashion Academy.
Rick Poynor is an English writer on design, graphic design, typography, and visual culture.
Erasmus Quellinus the Younger or Erasmus Quellinus II was a Flemish painter, engraver, draughtsman and tapestry designer who worked in various genres including history, portrait, allegorical, battle and animal paintings. He was a pupil of Peter Paul Rubens and one of the closest collaborators of Rubens in the 1630s. Following Rubens' death in 1640 he became one of the most successful painters in Flanders. He was a prolific draughtsman who made designs for decorative programmes in the context of official celebrations, for publications by the local publishers and for tapestries and sculptures realised by the local workshops. His work reveals the Classicist trend in the Baroque.
Wolfgang Weingart was an internationally known graphic designer and typographer. His work was categorized as Swiss typography and he was credited as "the father" of New Wave or Swiss Punk typography.
Mark Fernand Severin was a Belgian illustrator, engraver, and graphic artist, best known for designing bookplates.
Pieter Franciscus Dierckx was a Belgian impressionist painter.
Raymond John Hawkey was an English graphic designer and author, based in London.
Richard Paul Lohse was a Swiss painter and graphic artist and one of the main representatives of the concrete and constructive art movements.
Alan Aboud is an Irish graphic designer and creative director, from Dublin, Ireland. He was educated at Belvedere College, Dublin from 1974 to 1984 and the National College of Art & Design (NCAD), Dublin where he completed his foundation year and began his degree in graphic design before transferring to Saint Martin's School of Art in London in 1986. He graduated from there in 1989, with a first class honours degree.
David King was a British graphic designer, design historian, and writer, who assembled one of the largest collections of Soviet graphics and photographs. From this collection, he created a series of books covering the history of the Russian Revolution and its associated art and propaganda. In addition to Soviet-era photographs, posters, and other materials, his collection included items related to the Spanish Civil War, Maoist China, the Weimar Republic, and American labour organizations. King, a "leftist with Trotskyist leanings", in particular collected photographs and ephemera related to Leon Trotsky, who was extensively doctored out of revolutionary photographs and records under Josef Stalin's regime.
Martha Van Coppenolle was a Belgian artist and book illustrator. She was cited by the 'Letterenhuis - Museum' to be one of the most prolific and influential of all Flemish illustrators. She created pen and ink drawings for over 40 novels and children's books, particularly during the period between 1930 and 1960 within the Flemish region. Her early work leaned strongly towards the Russian Avant-Garde Movement, although she would equally be at ease, creating very colourful and detailed fairy tale illustrative motifs, for certain nursery rhymes when needed. Aside from illustrating, she was equally involved in creating graphic design, ceramic sculptures, oil paintings and furniture design concepts. In the later stages of her life, she gained international recognition as a stained glass artist.
Elza Severin was a Belgian artist.
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