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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