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Digital art in not merely an extension of classical art, it is its natural evolution. It is what decades of drawing, painting on canvas, long hours in darkroom with complicated photomontage techniques led to. But unlike many conservatives first think ( my grandmother for instance), not to simplify the process, but to enhance it and take it to entirely new level of expressive freedom. The imagination never came closer to reality before. Through digital art, 2D and 3D softwares we make it happen. It is our doorway.
There are thousands of great artist out there, and new are born by the hour, but only one is my greatest source of inspiration and the finest example of that smooth transition from traditional fine art to digital art technology, making it so obvious that now - only our imagination is the limit.
Here is a short biography of an amazing neo-surrealist artist George Grie, his personal insights and statements, as well as a great collection of his work that I’m sure inspires and challenges many who, just like me, are left breath-taken.
George Grie (Yuri Georgevich Gribanovski) was born on the 14th of May 1962, in Omisk, USSR. He studied Fine Art and Applied Design at the State University (Grie, O., 2004), from which he graduated in 1985. From start-on, he knew that he wasn’t going to follow traditional routes and started experimenting with neo-surrealistic painting. That career didn’t last long (till 1995), but it was quite successful. In 1989 he had his first international exhibition at Mistral Gallery in London (S9.com,2008) ,followed by exhibitions in Stockholm, Saint- Petersburg and Helsinki.
“Grie's paintings are concerned with the portrayal of strong and powerful images relying on visual impact. They are about capturing visual paradoxes, sometimes they depict calm and contemplative moments, solitude, and sometimes melancholy. There is a stillness in his themes, which conveys a sense of inner-reflection and self-observation.” (Grie, O.,2004)
Fig. 1
Grie, G. (1985-1995) Silence is deceitful [Oil on canvas]. George Grie’s neo-surrealism art gallery [Online].Available at: http://neosurrealism.artdigitaldesign.com/modern-artists/?artworks/fine-art/silence-is-deceitful.html (Accessed: 10 June 2010).
Fig. 2
Grie, G. (1985-1995) The birth of Venus No2 [Oil on canvas]. George Grie’s neo-surrealism art gallery [Online]. Available at: http://neosurrealism.artdigitaldesign.com/modern-artists/?artworks/fine-art/the-birth-of-venus-no2.html (Accessed: 10 June 2010).
Grie, G. (1985-1995) The birth of Venus No2 [Oil on canvas]. George Grie’s neo-surrealism art gallery [Online]. Available at: http://neosurrealism.artdigitaldesign.com/modern-artists/?artworks/fine-art/the-birth-of-venus-no2.html (Accessed: 10 June 2010).
Fig. 3
Grie, G. (1995) Loneliness with the World [Oil on Canvas]. George Grie’s neo-surrealism art gallery [Online]. Available at: http://www.neosurrealismart.com/modern-art-prints/?artworks/loneliness-with-the-world.html (Accessed: 10 June 2010).
Grie, G. (1995) Loneliness with the World [Oil on Canvas]. George Grie’s neo-surrealism art gallery [Online]. Available at: http://www.neosurrealismart.com/modern-art-prints/?artworks/loneliness-with-the-world.html (Accessed: 10 June 2010).
In 1995, Grie moved to Toronto, Canada, deciding to study digital art and change the course of his career, becoming a professional Multimedia Graphic Designer (Grie, O., 2004). He became a new lead specialist for IBM Corporation.
By transferring his fine-art neo-surrealist techniques into digital world of 2D and 3D softwares, his art reached an entirely new level, where dreamscapes and reality mix together in awe-striking and seamless photo-manipulations.
His style was influenced by famous surrealist like Rene Magritte and Salvador Dali (Tatyana_Art,2009), fantastic realist Zdislaw Beksinski, and of course Jerry N. Uelsmann, one I’m sure is his yang or non-digital twin. Even though Uelsmann is quite old now, he still makes truly mesmerizing photo-manipulations and has never touched digital technology in terms of using some photo-editing software. Perhaps he is one of the reasons why I like Grie’s work so much,both having very similar surreal style and feel in their work.
Olga Grie wrote for George’s biography:
“Often journeying into the subconscious, Grie's work shows a magical and playful, dream-like world laced with mastery details. Supernatural illusions, mystic romanticism, spiritual magic, and delusional trance are all together presented in his digital world. It is not always a comfortable, conventional world. There is a great deal of tension and of alienation in the strange events taking place in the landscape of his imagination.” (Grie, O. ,2004)
Fig. 4
Grie, G. (2008) Full moon rising [Online]. Available at: http://thumbs.imagekind.com/member/b3e6ccd8-b562-4104-8b9a- 701bd1615e5e/uploadedartwork/650X650/9d237e50-1d0f-44fe-b171-56d964b94bd8.jpg (Accessed: 10 June 2010).
Grie, G. (2008) Full moon rising [Online]. Available at: http://thumbs.imagekind.com/member/b3e6ccd8-b562-4104-8b9a- 701bd1615e5e/uploadedartwork/650X650/9d237e50-1d0f-44fe-b171-56d964b94bd8.jpg (Accessed: 10 June 2010).
Fig. 5
Grie, G. (2006) Mermaid syndrome [Online]. Available at: http://thumbs.imagekind.com/member/b3e6ccd8-b562-4104-8b9a- 701bd1615e5e/uploadedartwork/650X650/7f7760b1-8572-40b8-b1d4-5b3d37d3a8d0.jpg (Accessed: 10 June 2010).
Grie, G. (2006) Mermaid syndrome [Online]. Available at: http://thumbs.imagekind.com/member/b3e6ccd8-b562-4104-8b9a- 701bd1615e5e/uploadedartwork/650X650/7f7760b1-8572-40b8-b1d4-5b3d37d3a8d0.jpg (Accessed: 10 June 2010).
Fig. 6
Grie, G. (2007) Panic Attack or Anxiety PTSD [Online]. Available at: http://www.redbubble.com/people/surrealismart/art/1588822-1-panic-attack-or-anxiety-ptsd# (Accessed: 10 June 2010).
Grie, G. (2007) Panic Attack or Anxiety PTSD [Online]. Available at: http://www.redbubble.com/people/surrealismart/art/1588822-1-panic-attack-or-anxiety-ptsd# (Accessed: 10 June 2010).
Fig. 7
Grie, G. (2007) The Last Harbour or In Search of castaway nautilus [Online].Available at: http://digitalart.org/images/artwork/0054000-54435/miscellaneous/last-harbour-or-in-search-of-castaway-nautilus.jpg (Accessed: 10 June 2010).
Grie, G. (2007) The Last Harbour or In Search of castaway nautilus [Online].Available at: http://digitalart.org/images/artwork/0054000-54435/miscellaneous/last-harbour-or-in-search-of-castaway-nautilus.jpg (Accessed: 10 June 2010).
Fig. 8
Grie, G. (2008) Angels and Demons or Angel of Mercy [Online]. Available at: http://www.neosurrealismart.com/modern-art-prints/?artworks/angels-and-demons-or-angel-of-mercy.html&fullsize (Accessed: 10 June 2010).
Grie, G. (2008) Angels and Demons or Angel of Mercy [Online]. Available at: http://www.neosurrealismart.com/modern-art-prints/?artworks/angels-and-demons-or-angel-of-mercy.html&fullsize (Accessed: 10 June 2010).
A part of the image description:
“The Angel of Mercy was one of the first of the caring Angels, and all the spirits, this one has to be of extreme compassion, gentleness, and to have Love radiating from its very being, for no-one can leave this world without being touched by this Spirit.” (Grie, G.,2008).
He always writes comments to accompany his images, but they are more some random thoughts, philosophies and definitions of the key elements represented in the image, rather than revealing of its meaning. He says (2003) it is because he doesn’t want to force his opinion, it is on viewers to find their own meaning of the images and interpret them to their liking. The only hint he gives is the title.
Fig. 9
Grie, G. (2009) Cathedral of Notre-Dame, Our Lady Reims [Online]. Available at: http://www.neosurrealismart.com/modern-art-prints/?artworks/cathedral-of-notre-dame-our-lady-reims.html&fullsize (Accessed: 10 June 2010).
Grie, G. (2009) Cathedral of Notre-Dame, Our Lady Reims [Online]. Available at: http://www.neosurrealismart.com/modern-art-prints/?artworks/cathedral-of-notre-dame-our-lady-reims.html&fullsize (Accessed: 10 June 2010).
Fig. 10
Grie, G. (2005) Noah's Ark or delusion of grandeur [Online]. Available at: http://www.neosurrealismart.com/modern-art-prints/?artworks/noah-s-ark-or-delusion-of-grandeur.html&fullsize (Accessed: 10 June 2010).
Grie, G. (2005) Noah's Ark or delusion of grandeur [Online]. Available at: http://www.neosurrealismart.com/modern-art-prints/?artworks/noah-s-ark-or-delusion-of-grandeur.html&fullsize (Accessed: 10 June 2010).
“In the majority of my artworks, I am trying to merge real world images with subconscious emotions and philosophical thoughts. Many of my creations are similar to mental puzzles where you can take a trip from one point to the very end by analyzing symbolic objects laying around. Occasionally, image subject matters are unclear when the path is hidden under layers of mutually excepted items. Sometimes, a picture could appear almost abstract and meaningless but there is always something for you to discover.” (Grie, G.,2003).
At this point, I ask myself what sorts of software he uses and what inspires him to make these incredible peaces. Thankfully, I am not the first, and so he has written a sort of a self-interview, trying to explain and answer some of these questions that probably still spam his email on a daily basis.
His main applications are Adobe Photoshop and 3ds Max (Grie, 2008), then Poser and Daz Studio for 3D model rendering, MojoWorld and Terragen for landscape generating, and of course Zbrush and CreatureCreator. It takes him about a weak to finish one of his pieces or at least he tries to keep it as a deadline, thinking that he might lose the trail of his original thoughts if he gives himself more time for it.
He says that his inspiration can come from anywhere and anything, “as long as it carries a strong visual, philosophical, or emotional message.” (Grie, G.,2008)Other people’s artworks are also a great source of inspiration for him:
“ An idea enveloped in an art form can trigger my creativity regardless of the subject matter it represents, and I’m on the journey to give life to those ideas kept at the back of my mind.”(Grie, G.,2008).
At times, though, I find him too self-critical about his art, because each of his pieces is unique and powerful in its own way, and every time I look at one of them I feel inspired and already shaping some ideas of my own. But I would definitely agree with him on the matter that making a good concept for artwork is always more difficult than bringing it to life. As he says: “A poor concept, even perfectly executed, still makes a mediocre, tasteless artwork.” (Grie, G.,2008). With him, I doubt it can ever happen:
Fig.11
Grie,G. (2005) Kali the Destroyer [Online].Available at: http://www.neosurrealismart.com/modern-art-prints/?artworks/kali-the-destroyer.html (Accessed: 10 June 2010).
Grie,G. (2005) Kali the Destroyer [Online].Available at: http://www.neosurrealismart.com/modern-art-prints/?artworks/kali-the-destroyer.html (Accessed: 10 June 2010).
Fig. 12
Grie, G. (2008) Mindscape or virtual reality dreamscape [Online]. Available at: http://www.neosurrealismart.com/modern-art-prints/?artworks/mindscape-or-virtual-reality-dreamscape.html (Accessed: 10 June 2010).
Grie, G. (2008) Mindscape or virtual reality dreamscape [Online]. Available at: http://www.neosurrealismart.com/modern-art-prints/?artworks/mindscape-or-virtual-reality-dreamscape.html (Accessed: 10 June 2010).
Fig. 13
Grie,G. (2009) Insomnia or Nocturnal Awakening [Online]. Available at: http://www.neosurrealismart.com/modern-art-prints/?artworks/insomnia-or-nocturnal-awakening.html (Accessed: 10 June 2010).
Grie,G. (2009) Insomnia or Nocturnal Awakening [Online]. Available at: http://www.neosurrealismart.com/modern-art-prints/?artworks/insomnia-or-nocturnal-awakening.html (Accessed: 10 June 2010).
Fig. 14
Grie,G. (2006) Arrested Expansion or Cardiac Arrest [Online]. Available at: http://www.neosurrealismart.com/modern-art-prints/?artworks/arrested-expansion-or-cardiac-arrest.html (Accessed: 10 June 2010).
Grie,G. (2006) Arrested Expansion or Cardiac Arrest [Online]. Available at: http://www.neosurrealismart.com/modern-art-prints/?artworks/arrested-expansion-or-cardiac-arrest.html (Accessed: 10 June 2010).
Fig. 15Grie, G. (2004) Confluence or guided meditation [Online].Available at:
http://www.neosurrealismart.com/modern-art-prints/?artworks/confluence-or-guided-meditation.html (Accessed: 10 June 2010).
From his mithical beings, breathtaking landsapes and stillness in motion, I can hardly find the proper words to describe the impact his art has on me. Even some of his darker, more troublesome pieces, leave me contemplating and brooding over things for hours, as there are those little disturbing places in each of as, as well as times when a person is ready to enter one small philosophical discusion with oneself.
As source of inspiration, for me, he’s invaluable. As digital artist, he deserves far greater credit than he gives himself. It is very hard to find a unique art these days, or just a taste of some thought behind the artwork. In that sense, Grie is priceless.And can he also serve as a proof that digital technology and softwares are invaluable tools of self-expression, only there to aid in creating of what lies there, eagerly awaiting, beneath the surface of our imagination? Just a glance at his artwork answers the question.
“ Some of us still consider digital and 3d art as something mechanical and artificial, something that in some way is out of human touch. Nothing could be more wrong. Computers don’t make art, people do. Computers are creative tools, much sophisticated ones. Once you try them you will never give up going forward. It’s a fresh creative drug of a new generation of an artistic society. It’s an addiction with no cure. It is a curse you can’t get rid off. It’s your blessing destiny.” (Grie, G.,2003)
References:
Grie, O.,(2004) George Grie Biography. Available at: http://artist-3d.com/02prints3d/a-index01-biography.htm (Accessed: 10 June 2010).
‘Grie, George (Youri Gribanovski)’ (2008) S9.com Biographical Dictionary.Available at: http://www.s9.com/Biography/Grie-George (Accessed: 10 June 2010).
Tatyana_Art (2009) ‘Джорж Грие (George Grie)’ Best-Art, 29 Novembar. Available at: http://best-art.ucoz.net/publ/khudozhniki_kompjuternaja_grafika/dzhorzh_grie/dzhorzh_grie_georg_grie/7-1-0-2 (Accessed: 10 June 2010).
Grie,G. (2008) Angels and Demons or Angel of Mercy. Available at: http://www.neosurrealismart.com/modern-art-prints/?artworks/angels-and-demons-or-angel-of-mercy.html (Accessed: 10 June 2010).
Grie, G. (2003) Art Statement. Available at: http://www.neosurrealismart.com/modern-art-prints/?biography (Accessed: 10 June 2010).
Grie, G. (2003) Art Statement. Available at: http://www.neosurrealismart.com/modern-art-prints/?biography (Accessed: 11 June 2010).
Image list:
Grie, G. (1985-1995) Silence is deceitful [Oil on canvas]. George Grie’s neo-surrealism art gallery [Online].Available at: http://neosurrealism.artdigitaldesign.com/modern-artists/?artworks/fine-art/silence-is-deceitful.html (Accessed: 10 June 2010). Fig. 1
Grie, G. (1985-1995) The birth of Venus No2 [Oil on canvas]. George Grie’s neo-surrealism art gallery [Online]. Available at: http://neosurrealism.artdigitaldesign.com/modern-artists/?artworks/fine-art/the-birth-of-venus-no2.html (Accessed: 10 June 2010). Fig. 2
Grie, G. (1995) Loneliness with the World [Oil on Canvas]. George Grie’s neo-surrealism art gallery [Online]. Available at: http://www.neosurrealismart.com/modern-art-prints/?artworks/loneliness-with-the-world.html (Accessed: 10 June 2010). Fig. 3
Grie, G. (2008) Full moon rising [Online]. Available at: http://thumbs.imagekind.com/member/b3e6ccd8-b562-4104-8b9a- 701bd1615e5e/uploadedartwork/650X650/9d237e50-1d0f-44fe-b171-56d964b94bd8.jpg (Accessed: 10 June 2010). Fig. 4
Grie, G. (2006) Mermaid syndrome [Online]. Available at: http://thumbs.imagekind.com/member/b3e6ccd8-b562-4104-8b9a- 701bd1615e5e/uploadedartwork/650X650/7f7760b1-8572-40b8-b1d4-5b3d37d3a8d0.jpg (Accessed: 10 June 2010). Fig. 5
Grie, G. (2007) Panic Attack or Anxiety PTSD [Online]. Available at: http://www.redbubble.com/people/surrealismart/art/1588822-1-panic-attack-or-anxiety-ptsd# (Accessed: 10 June 2010). Fig. 6
Grie, G. (2007) The Last Harbour or In Search of castaway nautilus [Online].Available at: http://digitalart.org/images/artwork/0054000-54435/miscellaneous/last-harbour-or-in-search-of-castaway-nautilus.jpg (Accessed: 10 June 2010). Fig. 7
Grie, G. (2008) Angels and Demons or Angel of Mercy [Online]. Available at: http://www.neosurrealismart.com/modern-art-prints/?artworks/angels-and-demons-or-angel-of-mercy.html&fullsize (Accessed: 10 June 2010). Fig. 8
Grie, G. (2009) Cathedral of Notre-Dame, Our Lady Reims [Online]. Available at: http://www.neosurrealismart.com/modern-art-prints/?artworks/cathedral-of-notre-dame-our-lady-reims.html&fullsize (Accessed: 10 June 2010). Fig. 9
Grie, G. (2005) Noah's Ark or delusion of grandeur [Online]. Available at: http://www.neosurrealismart.com/modern-art-prints/?artworks/noah-s-ark-or-delusion-of-grandeur.html&fullsize (Accessed: 10 June 2010). Fig. 10
Grie,G. (2005) Kali the Destroyer [Online].Available at: http://www.neosurrealismart.com/modern-art-prints/?artworks/kali-the-destroyer.html (Accessed: 10 June 2010). Fig. 11
Grie, G. (2008) Mindscape or virtual reality dreamscape [Online]. Available at: http://www.neosurrealismart.com/modern-art-prints/?artworks/mindscape-or-virtual-reality-dreamscape.html (Accessed: 10 June 2010). Fig. 12
Grie,G. (2009) Insomnia or Nocturnal Awakening [Online]. Available at: http://www.neosurrealismart.com/modern-art-prints/?artworks/insomnia-or-nocturnal-awakening.html (Accessed: 10 June 2010). Fig. 13
Grie,G. (2006) Arrested Expansion or Cardiac Arrest [Online]. Available at: http://www.neosurrealismart.com/modern-art-prints/?artworks/arrested-expansion-or-cardiac-arrest.html (Accessed: 10 June 2010). Fig. 14
Grie, G. (2004) Confluence or guided meditation [Online].Available at:
http://www.neosurrealismart.com/modern-art-prints/?artworks/confluence-or-guided-meditation.html (Accessed: 10 June 2010). Fig. 15
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What every graphic designer knows is that much of his/her work is bound to revolve around typography. Those not so keen on doing types and logos, rather refer to themselves as digital artists than simply graphic designers, pointing out their preferences. I eluded the problem altogether, studying a different course, one that goes beyond these graphic design basics. But this in no way means that I do not understand the significance of type, nor that I don’t go to far lengths to find and incorporate the appropriate one to my work.
“Find” is the key word here. I was born into the world of digital art where there were already zillion of fonts available for me to browse through and use, but even so, was still encouraged to use my creativity and make up my own. This wasn’t always so. There was a time where there were certain commercial standards and everything else regarded unacceptable or inappropriate. Thus, we have a list of people to thank for breakthroughs in typography, once again- significant contribution to modern graphic design.One of those people is certainly Neville Brody, a renowned designer, typographer and art director. “He created typefaces that revolutionized the graphic design over the past two decades.” (Showker,F., 2008). I will write about his early beginnings and first inspirations to work he does today, hopefully portraying him with the respect he deserves.
As I’ve learned from his biography ( Wozencroft, J.,2002), Neville Brody was born in London, in 1957. Interested in nothing but art, he studied at Hornsey College of Art and then chose London College of Printing for his three-year graphic design BA program in 1976. His lecturers weren’t much impressed with his work, in fact, they’ve called it un-commercial and regarded it as too experimental.
In the mean time, London life was reshaping to Punk scene, and Punk was definitely a vital motivator and great creative source for Brody. Although his new experimentation nearly got him thrown out from college, it paid off in the long run.“I went there to learn the basics and to understand exactly how typography is supposed to work, in terms of the rules, and it happened at the same time as Punk, which was probably the most influential thing that happened to me in London. And the Punk explosion pushed that all out of the window.”(Brody,2009)
But bringing his ideas to life and making a living out of them wasn’t easy, but he didn’t give up, on the contrary.
“ It is important here to mention, I think, that the music scene in London was so vital; that there were independent concerts, there was a thriving independent record label scene, and if it wasn’t for that, people like myself…we would not have survived, there would be no support system whatsoever. And this was of line of us making a living…minimal living, but to be able to make a living pursuing ideas and explorations and having them published, put out in public space. And that was vital, it was absolutely vital. And that was the difference. And London was this thriving, humming, inspiring, exciting place to be at this time. And anything was possible.” (Brody, 2009)
Brody first joined a company called Rockin Russian, creating record covers (Wozencroft, J., 2002), later moving to Stiff Records. Although appreciating the work opportunity, Brody felt somewhat creatively confined there, as Stiff was trying to follow styles from major industry, thus commercial.
“Stiff taught me a lot about the workings of the music business, but I wasn’t getting the chance to develop the ideas I wanted to pursue. They had good intentions, but I knew that there were more interesting avenues to explore. I started working for the Fetish Records at the same time when I was living in a squat in Covent Garden with Tom Heslop, who was a lead singer in 23 Skidoo.” (Wozencroft, J.,2002)
His most notable work for Fetish Records was a body work for Cabaret Voltaire and, of course, 23 Skidoo.( Research Studios, 2009). From all that grew The Face magazine, in 1981. His extraordinary and innovative style brought him immediate fame. And even though he didn’t like the idea of his style being commercialized, his much unique work soon started to be copied from magazine covers to advertising graphics. (FontShop, 2009).
Fig. 1 – The Wall- Neville Brody’s covers for The Face magazine
Brody, N. (2010) researchstudios-face_01 [Online]. Available at: http://www.researchstudios.com/wp-content/uploads/2010/05/researchstudios-face_01.jpg (Accessed: 6 June 2010).
Brody, N. (2010) researchstudios-face_01 [Online]. Available at: http://www.researchstudios.com/wp-content/uploads/2010/05/researchstudios-face_01.jpg (Accessed: 6 June 2010).
Fig. 2 – Neville Brody’s design and typography for The Face magazine ex. 1
Brody, N. (2010) researchstudios-face_03 [Online]. Available at: http://www.researchstudios.com/wp-content/uploads/2010/05/researchstudios-face_03.jpg (Accessed: 6 June 2010).
Brody, N. (2010) researchstudios-face_03 [Online]. Available at: http://www.researchstudios.com/wp-content/uploads/2010/05/researchstudios-face_03.jpg (Accessed: 6 June 2010).
Fig.3- Neville Brody’s design and typography for The Face magazine ex. 2
Brody, N. (2010) researchstudios-face_02 [Online]. Available at: http://www.researchstudios.com/wp-content/uploads/2010/05/researchstudios-face_02.jpg (Accessed: 6 June 2010).
Brody, N. (2010) researchstudios-face_02 [Online]. Available at: http://www.researchstudios.com/wp-content/uploads/2010/05/researchstudios-face_02.jpg (Accessed: 6 June 2010).
Brody comments: “There were times when my work had been ripped off so much that I didn’t want to make any new statements on the page whatsoever. I wanted other people to challenge The Face, not to copy it.”(Wozencroft, J., 2002)
Brody was designing his own typefaces, “opening the way for the advent of digital type design”. (FontShop, 2009)
“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.” (FontShop, 2009)
A good example of these typefaces is Industria, which he designed originally for magazine. Later, working for The FaceArena magazine, he designed Insignia, as a headline face. He was more simplistic in his approach in comparison to The Face, but still quite unique and characteristic.
Fig. 4
Brody, N. (2010) The Industia [Online]. Available at: http://www.linotype.com/866/industria-family.html# (Accessed: 7 June 2010).
Fig. 5
Brody, N. (2010) The Insignia [Online]. Available at: http://www.linotype.com/872/insignia-family.html# (Accessed: 7 June 2010).
Arcadia is another example of Brody’s fonts, also designed for Arena magazine (1986).
Fig. 6
Brody, N. (2009) The Arcadia [Online]. Available at: http://www.linotype.com/53/arcadia-family.html?PHPSESSID=fc0df3383457d3975e3fb570fbf7c549# (Accessed: 7 June 2010).
He founded his own studio in London in 1987. By then he was already internationally famous in the world of design. In 1988, a book was published about his work – The Graphic Language of Neville Brody (by Themes and Hudson), and it’s still considered a must-have for graphic designers. (Krusuvar, 2010). In 1990, he started the Fontworks, fonts e-store, and the success from that can be see through FUSE.
In the same time as the publication of his second book, in 1994, his studio was renamed to Research Studios (Research Studios, 2009). Today they have offices in Paris, Barcelona, Berlin and New York and handle everything from the branding and visual identity, art direction, application work to packaging and advertising.
They truly have a long list of “respectable” clients, but just to name a few: BBC, Sony Playstation, The Times (London), Asics, Apple, Microsoft, MTV Europe, Issey Miyake, Bentley, Kenzo etc.
Fig. 7
Brody, N. (2009) Arena Homme + Edition 32 covers [Online]. Available at: http://www.researchstudios.com/2009/10/01/arena-homme-edition-32-popaganda/ (Accessed: 6 June 2010).
Brody, N. (2009) Arena Homme + Edition 32 covers [Online]. Available at: http://www.researchstudios.com/2009/10/01/arena-homme-edition-32-popaganda/ (Accessed: 6 June 2010).
This is one of the latest works Brody did for magazines, and these are special cover editions of Arena Homme + magazine ‘Popaganda’, for which he Art Directed and made typefaces (Research Studios, 2009).
Fig. 8
Brody, N. (2009) Free Me From Freedom poster [Online]. Available at: http://www.researchstudios.com/wp-content/uploads/2009/07/researchstudios-embed-poster.jpg (Accessed: 6 June 2010).
Brody, N. (2009) Free Me From Freedom poster [Online]. Available at: http://www.researchstudios.com/wp-content/uploads/2009/07/researchstudios-embed-poster.jpg (Accessed: 6 June 2010).
This is a fly poster he designed for Embedded art, a fine art exhibition exploring terrorism and security at the Acadmie der Kunste in Berlin.(Research Studios, 2009).
According to data from his biography at Research Studios (2009), alongside these, his recent projects include a new book Brody produced by Ginza Graphic Gallery (Japan) and exhibition at the Rocket Gallery in Tokio, January 2009; then the Freedom Space installation at the Design Museum London and his “Unentitled” tent for the blank canvas project.
Fig. 9
Brody, N. (2010) Neville Brody Work Wall [Online]. Available at: http://www.researchstudios.com/neville-brody/ (Accessed: 6 June 2010).
Brody, N. (2010) Neville Brody Work Wall [Online]. Available at: http://www.researchstudios.com/neville-brody/ (Accessed: 6 June 2010).
Indeed, he’s been busy.
And have I mentioned that on January 1st 2011 he’s taking position as Head of the Department of Communication Art &Design at the Royal College of Art ! (Research Studios, 2010).
Still giving lectures and interviews at many important events, one can learn a lot from his insights and should take on each of his advices. There is no doubt that he is one of the key figures that freed and shaped digital typography as we know it today. As graphic designer, his work is still competing with all the new, fresh artists out there; his vision and inspiration seem endless.
His enormous contribution contribution to the world of graphic design is still a source of inspiration for many, and the way he influenced and still challenges artists can be seen in speed by which new ideas are formed and published every day.Personally, I find even his life story inspiring, and before all, encouraging. It takes courage to follow ones ideas even at times when they are not accepted. Especially when the going gets tough, and you think of just quitting and conforming to all those “invisible” rules of commerciality and market demands out there. Thinking different is not always such a bad thing.
Thanks for that little sparkle of hope Neville.
References:
Showker, F. (2008) DT&G fall fonts festival fourteen – Neville Brody. Available at: http://www.graphic-design.com/Type/2008/Neville-brody.html (Accessed: 6 June 2010.
Wozencroft, J. (2002) The Graphic Language of Neville Brody. New York: Universe Publishing.Vol.1
Brody, N. (2009) ‘Neville Brody, Super Contemporary interview’. Interview with Neville Brody. Interviewed by Marcus Fairs for the Super Contemporary exhibition, Design Museum London, August. [Online] Available at: http://www.vimeo.com/5800748 (Accessed: 6 June 2010).
FontShop (2009) View Fonts by Designer – Neville Brody. Available at: http://www.fontshop.com/fonts/designer/Neville-brody/ (Accessed: 7 June 2010).
Research Studios (2009) Neville Brody Biography 09. Available at: http://www.researchstudios.com/NB_Bio_09.pdf (Accessed: 6 June 2010).
Krušuvar, Z. (2010) Neville Brody – SLOVO DIZAJNERSKOG ZAKONA [Online]. Available at: http://www.teklic.hr/crvena/index.php?idc=167&id=2229 (Accessed: 7 June 2010).
Research Studios (2009) ‘Arena Homme+ Edition 32 ‘Popaganda’’ Research Studios Blog, 1 October. Available at: http://www.researchstudios.com/2009/10/01/arena-homme-edition-32-popaganda/ (Accessed: 6 June 2010).
Research Studios (2009) ‘Re:Search: Embedded Art’ Research Studios Blog, 26 July. Available at: http://www.researchstudios.com/2009/07/29/research-embedded-art/ (Accessed: 6 June 2010).
Research Studios (2010) ‘Neville Brody- Head of Communication Art & Design RCA’ Research Studios Blog, 22 March. Available at: http://www.researchstudios.com/2010/03/22/neville-brody-head-of-communication-art-design-rca/ (Accessed: 6 June 2010).
Image list:
Brody, N. (2010) researchstudios-face_01 [Online]. Available at: http://www.researchstudios.com/wp-content/uploads/2010/05/researchstudios-face_01.jpg (Accessed: 6 June 2010). Fig.1
Brody, N. (2010) researchstudios-face_03 [Online]. Available at: http://www.researchstudios.com/wp-content/uploads/2010/05/researchstudios-face_03.jpg (Accessed: 6 June 2010). Fig.2
Brody, N. (2010) researchstudios-face_02 [Online]. Available at: http://www.researchstudios.com/wp-content/uploads/2010/05/researchstudios-face_02.jpg (Accessed: 6 June 2010). Fig.3
Brody, N. (2010) The Industia [Online]. Available at: http://www.linotype.com/866/industria-family.html# (Accessed: 7 June 2010). Fig.4
Brody, N. (2010) The Insignia [Online]. Available at: http://www.linotype.com/872/insignia-family.html# (Accessed: 7 June 2010). Fig.5
Brody, N. (2009) The Arcadia [Online]. Available at: http://www.linotype.com/53/arcadia-family.html?PHPSESSID=fc0df3383457d3975e3fb570fbf7c549# (Accessed: 7 June 2010). Fig.6
Brody, N. (2009) Arena Homme + Edition 32 covers [Online]. Available at: http://www.researchstudios.com/2009/10/01/arena-homme-edition-32-popaganda/ (Accessed: 6 June 2010). Fig.7
Brody, N. (2009) Free Me From Freedom poster [Online]. Available at: http://www.researchstudios.com/wp-content/uploads/2009/07/researchstudios-embed-poster.jpg (Accessed: 6 June 2010). Fig. 8
Brody, N. (2010) Neville Brody Work Wall [Online]. Available at: http://www.researchstudios.com/neville-brody/ (Accessed: 6 June 2010). Fig. 9
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If you can trap a vision by any tool and skill, you’re an artist. If you can bring other people’s vision to life in form of visual message that no eye can ignore and misinterpret, then you are professional. If your art stands out from other’s, then you’re exceptional. But it is only when your art lives on for decades to inspire and teach others, that you can, with all modesty, say that you are a master.
This essay is about such a man, a pioneer and great contributor to what is now an ever-growing profession, graphic design. Though modest in pure sense of the word and leaving only his art to speak for itself, there is much to learn from Herbert Matter and he was definitely an artist that every photographer and graphic designer should know about.“Matter is best known for his contributions in photography, photomontage and graphic design. His advanced techniques became part of the new visual narrative that began in the 1930s which have since evolved into familiar design idioms such as overprinting- where an image extends beyond the frame, and the bold use of typography, color, size and placement. These design elements often characterize both pre-war European Modernism and the post-war expression of that Movement in United States.” (Head, J., 2005)
Born is Switzerland (1907), he started studying painting at the Ecole des Beaux-Arts in Geneva in 1925, but just two years later he moved to Paris to study at the Académie Moderne with Fernand Léger and Amédéé Ozenfant. It was just the time when Europe was taken by new approaches in photography and graphic design, so he himself delved into this world that fascinated him, playing with photograms, especially in terms of collage and montage (Heller, S.,Brown,D.R.,1984). He was hired by Deberny and Piegnot concern in 1929 as a designer and photographer and later he worked on posters with A.M Cassandre and on architecture and displays with Le Corbusier (ADC,2010).
As it is explained in his biography (ADC,2010), it was a law that foreign students renew their visas, which he didn’t do, so when the police raided an art theatre he was at one night in 1932, he was put on a train home. But ending his stay in Paris was in fact a good thing, better yet, a major turning point of his career.Back in Zürich he was making posters for Swiss National Tourist office that got him immediate international acclaim.
“The Swiss object poster was distinct from the Berlin sachplakat in that the Swiss replaced the reductive flatness of the typical German image with a boldly rendered lithographic design.” (Heller,S.Chwast,S.,2002)
Fig. 1
Matter, H. (1935) Für shone Autofahren die Schweiz [Poster, Gravure]. The Museum of Modern Art [Online]. Available at: http://www.moma.org/collection/browse_results.php?criteria=O%3AAD%3AE%3A3843&page_number=7&template_id=1&sort_order=1 (Accessed: 29 May 2010). 101x63.8 cm / 39 3/4'' x 25 1/8''.
Matter, H. (1935) Für shone Autofahren die Schweiz [Poster, Gravure]. The Museum of Modern Art [Online]. Available at: http://www.moma.org/collection/browse_results.php?criteria=O%3AAD%3AE%3A3843&page_number=7&template_id=1&sort_order=1 (Accessed: 29 May 2010). 101x63.8 cm / 39 3/4'' x 25 1/8''.
Fig.2
Matter, H. (1935) Pontresina Engadin [Poster,Gravure]. The Museum of Modern Art [Online]. Available at: http://www.moma.org/collection/browse_results.php?criteria=O%3AAD%3AE%3A3843&page_number=8&template_id=1&sort_order=1 (Accessed: 29 May 2010). 101.6 x 63.8 cm / 40 x 25 1/8''
Fig. 3
Heller,S., Chwast, S. (2002) Graphic style: from Victorian to digital. New York: Harry N. Abrams, Inc., pp. 174, illus.
Matter, H. (1935) Pontresina Engadin [Poster,Gravure]. The Museum of Modern Art [Online]. Available at: http://www.moma.org/collection/browse_results.php?criteria=O%3AAD%3AE%3A3843&page_number=8&template_id=1&sort_order=1 (Accessed: 29 May 2010). 101.6 x 63.8 cm / 40 x 25 1/8''
Fig. 3
Heller,S., Chwast, S. (2002) Graphic style: from Victorian to digital. New York: Harry N. Abrams, Inc., pp. 174, illus.
“Influenced by the early photographic design of the German-born Anton Stankowski, Herbert Matter created startling photomontage travel posters that defined a new style called object photography.” (Heller, S.,Chwast, S., 2002)
Fig. 4
Matter, H. (1936) Winterferien- Doppelte Ferien,Schweiz [Poster,Photolithograph]. The Museum of Modern Art [Online]. Available at: http://www.moma.org/collection/browse_results.php?criteria=O%3AAD%3AE%3A3843&page_number=9&template_id=1&sort_order=1 (Accessed: 29 May 2010). 101 x 63.8 cm / 39 3/4'' x 28 1/8''
Matter, H. (1936) Winterferien- Doppelte Ferien,Schweiz [Poster,Photolithograph]. The Museum of Modern Art [Online]. Available at: http://www.moma.org/collection/browse_results.php?criteria=O%3AAD%3AE%3A3843&page_number=9&template_id=1&sort_order=1 (Accessed: 29 May 2010). 101 x 63.8 cm / 39 3/4'' x 28 1/8''
Fig.5
Matter, H. (1935-6) Pontresina Schweiz [Poster, Photolithograph]. The Museum of Modern Art [Online]. Available at: http://www.moma.org/collection/object.php?object_id=5448 (Accessed: 29 May 2010). 101.6 x 63.8 cm / 40 x 25 1/8''
Matter, H. (1935-6) Pontresina Schweiz [Poster, Photolithograph]. The Museum of Modern Art [Online]. Available at: http://www.moma.org/collection/object.php?object_id=5448 (Accessed: 29 May 2010). 101.6 x 63.8 cm / 40 x 25 1/8''
“He pioneered photomontage techniques. Before color photography, this darkroom perfectionist could achieve a freshness and harmony in his colors and photographic surfaces by dyeing various elements photo-chemically.” (ADC, 2010).
Fig. 6
Matter,H. (unknown) Magazine Cover:Vogue [Online]. Available at: http://www.aiga.org/common/modules/utils/SlideShowPopup.cfm?sf=medalist-herbertmatter_1_herbert_matter_portrait_slideshow_20100408164323.cfm&Index=6 (Accessed: 29 May 2010).
Matter,H. (unknown) Magazine Cover:Vogue [Online]. Available at: http://www.aiga.org/common/modules/utils/SlideShowPopup.cfm?sf=medalist-herbertmatter_1_herbert_matter_portrait_slideshow_20100408164323.cfm&Index=6 (Accessed: 29 May 2010).
During World War II he was making posters for Container Corporation of America, and in 1944 he joined Knoll Associates as a long-term (12 years) design and advertising consultant.
Fig.7
Matter, H. (1941) America Calling,Take Your Place in Civilian Defense [Poster, Offset lithograph]. The Museum of Modern Art[Online]. Available at: http://www.moma.org/collection/object.php?object_id=5131(Accessed: 29 May 2010).
Matter, H. (1941) America Calling,Take Your Place in Civilian Defense [Poster, Offset lithograph]. The Museum of Modern Art[Online]. Available at: http://www.moma.org/collection/object.php?object_id=5131(Accessed: 29 May 2010).
Fig. 8
Matter, H. (1956) Magazine Advertisements: Knoll Assoc.,Inc. [Online]. Available at: http://www.aiga.org/common/modules/utils/SlideShowPopup.cfm?sf=medalist-herbertmatter_1_herbert_matter_portrait_slideshow_20100408164323.cfm&Index=8 (Accessed : 29 May 2010).
Matter, H. (1956) Magazine Advertisements: Knoll Assoc.,Inc. [Online]. Available at: http://www.aiga.org/common/modules/utils/SlideShowPopup.cfm?sf=medalist-herbertmatter_1_herbert_matter_portrait_slideshow_20100408164323.cfm&Index=8 (Accessed : 29 May 2010).
Among his design clients was the New Haven Railroad for which he made corporate programs, symbols, styling of engines and equipment. (ADC,2010)
“The ubiquitous “NH” logo, with its elongated serifs, was one of the most identifiable symbols in America.” (Heller, S.,Brown,D.R., 1984).
Fig. 9
Matter, H. (1954) Corporate Identity: New Haven Railroad [Online]. Available at: http://www.aiga.org/common/modules/utils/SlideShowPopup.cfm?sf=medalist-herbertmatter_1_herbert_matter_portrait_slideshow_20100408164323.cfm&Index=7 (Accessed: 29 May 2010).
Matter, H. (1954) Corporate Identity: New Haven Railroad [Online]. Available at: http://www.aiga.org/common/modules/utils/SlideShowPopup.cfm?sf=medalist-herbertmatter_1_herbert_matter_portrait_slideshow_20100408164323.cfm&Index=7 (Accessed: 29 May 2010).
Marc Fratassio said:
“It wasn’t untill Herbert Matter came to the New Haven Railroad that Railroads began looking at their image as as part of the whole process.” (Pixiu films, 2009).
In 1952, he joined Yale faculty as a professor of photography and graphic design. He was also a design consultant and handled displays for the Museum of Modern Art, Solomon R. Guggenheim Museum and the Houston Museum of Modern arts (ADC, 2010). He entered the Art Director’s Club Hall of Fame in 1977 and won the AIGA medal in 1983.
So obviously good in everything he did, in 1944, he directed a movie on the sculpture of his friend Alexander Calder. His other films include a film on Segovia, R. Buckminster Fuller and “Guns of August”- animation for Universal.
Matter had a great interest in sculptor Albert Giacometti (Stanford University, 2006) and while becoming close friend, he started photographing Giacometti’s work (1960). It turned out to be a twenty-year long project, published as a book in 1987 (posthumously) by Harry N. Abrams, Inc.
Fig. 10
Matter, H.,Matter, M. (1987) Alberto Giacometti. New York: Harry N. Abrams, pp. 1, illus.
Matter, H.,Matter, M. (1987) Alberto Giacometti. New York: Harry N. Abrams, pp. 1, illus.
Fig. 11
Matter, H.(unknown) Giacometti Figures. Staley-Wise Gallery [Online]. Available at: http://www.staleywise.com/collection/matter/matter_giacom_statues.html (Accesses: 29 May 2010).
Matter, H.(unknown) Giacometti Figures. Staley-Wise Gallery [Online]. Available at: http://www.staleywise.com/collection/matter/matter_giacom_statues.html (Accesses: 29 May 2010).
He had a beautiful style of black and white photography. My favourite, by the way. I guess what draws me to it is the very infinite play of lights that can transform any moment, person or object into something very deep, personal and mesmerizing. He was a master of that as well.
Fig. 12
Matter, H. (1940) Provincetown III. Staley-Wise Gallery [Online]. Available at: http://www.staleywise.com/collection/matter/matter.html (Accessed: 29 May 2010).
Matter, H. (1940) Provincetown III. Staley-Wise Gallery [Online]. Available at: http://www.staleywise.com/collection/matter/matter.html (Accessed: 29 May 2010).
Fig. 13
Matter, H.(unknown) Seagram Building. Staley Wise-Gallery [Online]. Available at: http://www.staleywise.com/collection/matter/matter_seagram.html (Accessed: 29 May 2010).
Matter, H.(unknown) Seagram Building. Staley Wise-Gallery [Online]. Available at: http://www.staleywise.com/collection/matter/matter_seagram.html (Accessed: 29 May 2010).
Fig. 14
Matter, H. (unknown) Rocks. Staley-Wise Gallery [Online]. Available at: http://www.staleywise.com/collection/matter/matter_rocks.html (Accessed: 29 May 2010).
Matter, H. (unknown) Rocks. Staley-Wise Gallery [Online]. Available at: http://www.staleywise.com/collection/matter/matter_rocks.html (Accessed: 29 May 2010).
Fig. 15
Matter, H.(1940) Archer. Staley-Wise Gallery [Online]. Available at: http://www.staleywise.com/collection/matter/matter_archer.html (Accessed: 29 May 2010).
Matter, H.(1940) Archer. Staley-Wise Gallery [Online]. Available at: http://www.staleywise.com/collection/matter/matter_archer.html (Accessed: 29 May 2010).
Fig. 16
Matter, H. (1935) Zurich. Staley-Wise Gallery [Online]. Available at: http://www.staleywise.com/collection/matter/matter_plane.html (Accessed: 29 May 2010).
Matter, H. (1935) Zurich. Staley-Wise Gallery [Online]. Available at: http://www.staleywise.com/collection/matter/matter_plane.html (Accessed: 29 May 2010).
“A master technician, he used every method available to achieve his vision of light, form and texture. Manipulation of the negative, retouching, cropping, enlarging and light drawing are some of the techniques he used to achieve the fresh, enigmatic form he sought in his still life, landscapes, nudes and portraits.” (Staley-Wise, 2010).
Louis Finkelstein said:
“ Matter is an artist who can cross the gap, which imprisons each of us in our limited awareness, to make the essence of another person real. He uses the medium not to record facts but understanding.” (ADC,2010).
And what can I possibly say more about Herbert Matter? As an artist in formation, non certified, but still, in my mind only legitimate critic for appreciations I give, here I find myself speechless and humble before a man who died just as I was born, an artist who started his career something like 80 years ago, but seems like it never ended. Not with the way one can still learn from him, be inspired by him, and even still be challenged to copy him.
With the simplest computer software I can now reproduce any poster he’s done. His style is still vey much popular, from colours and textures, to typography. But to learn of ways he created this magnificent pieces, spending hours in the darkroom, is something I can just sit, brood over and admire.His biographies are usually very short, and as I’ve learned, he was quite modest when speaking about his art and fame. But that was just one more reason for those who new him to appreciate him more and treasure him.
Alex Matter:
“What distinguished Herbert from other photographers was that he had a vision. He wasn’t interested in just documenting reality.”(Pixiu films, 2009).
Lorraine Wild:
“To meet the man, to realize what a modest and unpretentious artist he was, was to realize the incredible influence he had on so many people.”(Pixiu films, 2009).
Kerry William Purcell:
“He was the one to see the potential of photography as a tool, as a graphic element in the work as a whole. He is the pioneer in that regard.”(Pixiu films,2009).
John Hill:
“Nothing had to be explained. You immediately see the power and impact of what he was doing visually or you miss it entirely.”(Pixiu films,2009).
Elaine Lustic Cohen:
“He really influenced a lot of people with his abstract photography.”(Pixiu films, 2009).
Jessica Helfand:
“For someone like Herbert Matter, to have commercial success not just in one but in several professions is truly unique to this day.”(Pixiu films,2009).
References:
Head, J. (2005) Herbert Matter: Modernist Photography and Graphic Design. Stanford: Stanford University Libraries .
Heller, S.,Brown, D.R. (1984) Herbert Matter. Available at: http://www.aiga.org/content.cfm/medallist-herbertmatter (Accessed: 29 May 2010).
The Art Directors Club (2010) Herbert Matter. Available at: http://www.adcglobal.org/archive/hof/?id=276 (Accessed: 29 May 2010).
Heller,S.,Chwast,S. (2002) Graphic style: from Victorian to digital. 2nd edn. New York: Harry N. Abrams, Inc.
PiXiU films (2009) The Visual Language Of Herbert Matter. Available at: http://www.herbertmatter.net/matter.html (Accessed: 29 May 2010).
Stanford University (2006) Herbert Matter: Modernist Photography and Graphic Design. Available at: http://library.stanford.edu/depts/spc/exhibits/matter.html (Accessed: 29 May 2010).
Staley-Wise Gallery (2010) The Collection -Herbert Matter. Available at: http://www.staleywise.com/collection/matter/matter.html (Accessed: 29 May 2010).
Image list:
Matter, H. (1935) Für shone Autofahren die Schweiz [Poster, Gravure]. The Museum of Modern Art [Online]. Available at: http://www.moma.org/collection/browse_results.php?criteria=O%3AAD%3AE%3A3843&page_number=7&template_id=1&sort_order=1 (Accessed: 29 May 2010). 101x63.8 cm / 39 3/4'' x 25 1/8''. Fig. 1
Matter, H. (1935) Pontresina Engadin [Poster,Gravure]. The Museum of Modern Art [Online]. Available at: http://www.moma.org/collection/browse_results.php?criteria=O%3AAD%3AE%3A3843&page_number=8&template_id=1&sort_order=1 (Accessed: 29 May 2010). 101.6 x 63.8 cm / 40 x 25 1/8'' Fig.2
Heller,S., Chwast, S. (2002) Graphic style: from Victorian to digital. New York: Harry N. Abrams, Inc., pp. 174, illus. Fig. 3
Matter, H. (1936) Winterferien- Doppelte Ferien,Schweiz [Poster,Photolithograph]. The Museum of Modern Art [Online]. Available at: http://www.moma.org/collection/browse_results.php?criteria=O%3AAD%3AE%3A3843&page_number=9&template_id=1&sort_order=1 (Accessed: 29 May 2010). 101 x 63.8 cm / 39 3/4'' x 28 1/8'' Fig.4
Matter, H. (1935-6) Pontresina Schweiz [Poster, Photolithograph]. The Museum of Modern Art [Online].Available at: http://www.moma.org/collection/object.php?object_id=5448 (Accessed: 29 May 2010). 101.6 x 63.8 cm / 40 x 25 1/8" Fig. 5
Matter, H. (unknown) Magazine Cover:Vogue [Online]. Available at: http://www.aiga.org/common/modules/utils/SlideShowPopup.cfm?sf=medalist-herbertmatter_1_herbert_matter_portrait_slideshow_20100408164323.cfm&Index=6 (Accessed: 29 May 2010). Fig. 6
Matter, H. (1941) America Calling,Take Your Place in Civilian Defense [Poster, Offset lithograph]. The Museum of Modern Art [Online].Available at: http://www.moma.org/collection/object.php?_id=5131 (Accessed: 29 May 2010). Fig. 7
Matter, H. (1956) Magazine Advertisements: Knoll Assoc.,Inc. [Online]. Available at: http://www.aiga.org/common/modules/utils/SlideShowPopup.cfm?sf=medalist-herbertmatter_1_herbert_matter_portrait_slideshow_20100408164323.cfm&Index=8 (Accessed : 29 May 2010). Fig. 8
Matter, H. (1954) Corporate Identity: New Haven Railroad [Online]. Available at: http://www.aiga.org/common/modules/utils/SlideShowPopup.cfm?sf=medalist-herbertmatter_1_herbert_matter_portrait_slideshow_20100408164323.cfm&Index=7 (Accessed: 29 May 2010). Fig.9
Matter, H.,Matter, M. (1987) Alberto Giacometti. New York: Harry N. Abrams, pp. 1, illus. Fig.10
Herbert Matter (unknown) Giacometti Figures. Staley-Wise Gallery [Online]. Available at: http://www.staleywise.com/collection/matter/matter_giacom_statues.html (Accesses: 29 May 2010). Fig. 11
Matter, H. (1940) Provincetown III. Staley-Wise Gallery [Online]. Available at: http://www.staleywise.com/collection/matter/matter.html (Accessed: 29 May 2010). Fig.12
Matter, H. (unknown) Seagram Building. Staley -Wise Gallery [Online]. Available at: http://www.staleywise.com/collection/matter/matter_seagram.html (Accessed: 29 May 2010). Fig. 13
Matter, H. (unknown) Rocks. Staley-Wise Gallery [Online]. Available at: http://www.staleywise.com/collection/matter/matter_rocks.html (Accessed: 29 May 2010). Fig. 14
Matter, H. (1940) Archer. Staley-Wise Gallery [Online]. Available at: http://www.staleywise.com/collection/matter/matter_archer.html (Accessed: 29 May 2010). Fig. 15
Matter, H. (1935) Zurich. Staley-Wise Gallery [Online]. Available at: http://www.staleywise.com/collection/matter/matter_plane.html (Accessed: 29 May 2010). Fig. 16