Neville Brody
Neville Stanley Brody (born 23 April 1957) is an English graphic designer, typographer and art director.[1] He is known for his work on The Face magazine (1981–1986), Arena magazine (1987–1990), and designing record covers for artists such as Clock DVA, Cabaret Voltaire, The Bongos, 23 Skidoo and Depeche Mode.[2][3][4][5] He created the company Research Studios in 1994 and is a founding member of Fontworks. His work is included in the permanent collection of the Museum of Modern Art (MoMA).[6] He was the Dean of the School of Communication at the Royal College of Art, London until September 2018[7]. He is now Professor of Communication.[8] Early life and educationBrody was born in Southgate, London. He attended Minchenden Grammar School and studied A-Level Art, from a fine art viewpoint. In 1975, Brody went on to do a Fine Art foundation course at Hornsey College of Art.[9] In late 1976, Brody started a three-year BA course in graphics at the London College of Printing. His work was influenced by the emergence of punk rock in London life.[10] He designed posters for student concerts at the college, most notably for Pere Ubu, supported by The Human League.[9] His first-year thesis was based around a comparison between Dadaism and pop art.[9] 1980s: Art DirectionBrody's experimentation with his self-made sans-serif typography, along with his Pop Art and Dadaism influence, caught the attention of music record companies such as Fetish Records and Stiff Records after he left college.[11][12] He designed the majority of the latter label's releases, as well as artwork for other post-punk acts at this time, including The Slits and Psychic TV. The album Micro-Phonies by Cabaret Voltaire was art directed by Brody in 1984. His infamous typography features on the front and a bandaged figure spouting liquid from the mouth stares blankly at the viewer.[13] Brody was art director for The Face magazine.[14] He directed the art design of other newspapers and magazines including City Limits, Lei, Per Lui, Actuel and Arena, as well as the redesigns of British newspapers The Guardian and The Observer.[citation needed] In 1988 Thames & Hudson published the first of two volumes about his work, which became the world's best selling graphic design book.[citation needed] Combined sales now exceed 120,000.[citation needed] An accompanying exhibition of his work at the Victoria and Albert Museum attracted over 40,000 visitors[citation needed] before touring Europe and Japan. In 1991, Neville Brody and Jon Wozencroft created the FUSE project. FUSE is an interactive magazine that sets out to challenge our current ideas about typographic and visual language in an age of ever changing communications technology and media.[15] Brody was also partly responsible for instigating the fusion between a magazine, graphics design and typeface design. The magazine ranges in themes from "Codes" and "Runes" to "Religion" and "Pornography." the exploration and freedom that the publishers exhibit is undeniable and exciting. The conventions upturned in FUSE are prescient in their definition of new standards.[16] Each package includes a publication with articles relating to typography and surrounding subjects, as well as new font designs. In 1990 he also founded the FontFont typeface library together with Erik Spiekermann. Notable fonts include the updated font for the Times newspaper, Times Modern, New Deal as used in publicity material and titles for the film Public Enemies and Industria. Brody launched Research Studios with Fwa Richards in London in 1994. A sister company, Research Publishing, produced and published experimental multi-media works by young artists. The primary focus was on FUSE, the conference and quarterly forum for experimental typography and communications. The publication had 20 issues over a publishing period of over ten years[17]. Three FUSE conferences have been held, in London, San Francisco and Berlin. The conferences brought together speakers from design, architecture, sound, film and interactive design and web.[citation needed] In 2010, the studio developed a global visual language for the BBC[18], and in November 2006 they redesigned The Times with the creation of a new font Times Modern[19]. The typeface shares many visual similarities with Mercury designed by Jonathan Hoefler. It is the first new font at the newspaper since it introduced Times New Roman in 1932. The company also completed a visual identity project for the Paris contemporary art exhibition Nuit Blanche in 2006. Research Studios launched a new look for the champagne brand Dom Pérignon in February 2007, having been appointed in 2004 to help the brand with its strategy and repositioning. [20] In 2015, Brody rebranded Research Studios as Brody Associates.[21] As of 2017, the Welsh WJEC exam board included Neville Brody as part of their Graphic Design curriculum. In 2021, Brody joined the advisory board of Dogamí, a blockchain-based "Petaverse" game, in which users "adopt" dog-inspired non-fungible tokens.[22] WorkMusicFetish RecordsArt Director (1980)
Cabaret Voltaire
Other
Magazine workMisc
Accomplishments
Fonts by Brody Brody has designed 23 font families, including:[29]
References
Bibliography
Further reading
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