Neville Brody (born 23 April 1957 in London) is an English graphic designer, typographer and art director.
From 1981 to 1986 Neville Brody was art director of the magazine The Face. Neville Brody created a specific typographic appearance that influenced and inspired magazine designers and graphic designers globally.

Neville Brody attracted greater public attention through his work on The Face, drawing freely for his visually exciting layouts and typography on avant-garde artistic ideas of the 1920s and 1930s such as those of De Stijl and Russian Constructivism. Far removed from contemporary editorial conventions Brody’s work had a studied informality in the thoughtfulness devoted to the construction of its layouts, with blocks of texts often placed horizontally or vertically on the page, their often distinctive layouts contrasting strikingly with hand-mediated imagery and photography. Such ideas exerted a significant international impact on the appearance of magazine, advertising, and retailing design.

The above is an article Neville Brody designed on Brian Eno for The Face magazine (1983). It’s a double page spread with opposite crosses on both pagesm however the cross on the left hand side frames the text, whereas the cross on the right hand side is there fore aesthetic purposes, I believe. The photograph is out of focus in the background signifying the ashtray prehaps highlighting their bad habit and sort of lifestyle or feel of the body text.

This is also an article from The Face magazine (1982) showcasing fashion sunglasses. I like the chosen layout of the pages with the information at the bottom but the models made significant.  The bottom is also well organised and clear with the title in the unusal place of the bottom left and further information clearly stated at the bottom right.

Above are some The Face covers designed by Neville Brody in the early 1980’s.



Posty 10 Comic Book Propaganda:

Posted: June 24, 2012 by paulalaki in Uncategorized

Captain America:

Even though Marvel Comics had many characters during the 1940s I have choosen to focus on Captain America because of it’s close ties the the war posters used in america during that time period.

In 1940, writer Joe Simon who at the time was working for Timely publications now known as Marvel Comics conceived the idea for Captain America and made a sketch of the character in costume. “I wrote the name ‘Super American’ at the bottom of the page,” Simon said in his autobiography. “No, it didn’t work. There were too many ‘Supers’ around. ‘Captain America’ had a good sound to it. There weren’t a lot of captains in comics. It was as easy as that. The boy companion was simply named Bucky, after my friend Bucky Pierson, a star on our high school basketball team.”

And thus a hero of propaganda to the war for all enlisters was born. It may not have started out that way but there was a clear and unmistakable message throughout the graphic design of the Captain America comic books America was good Nazi Bad. This is shown through the strong use of the bright, friendly and heroic shades of red white and blue of the Captain America costume clearly a representation of the American flag.

While the Nazi uniforms were often a mix of a dirty grey green coupled along with harsh black of the swatch sticker and blood reds, even some of the bad guys depicted such as Red Skull a depiction of a Nazi general with blood red skin and alien or skull bone like features.

The graphics were romantic with high action sequences and were not only displayed in comic book but were a reoccurring feature in newspapers and magazines, often used in the USA as advertising for young men to enlist in the war movement.

And as a final note it is interesting to see how a piece like this has managed to survive almost 7 decades and still lives on even though Captain America may have joined the Avengers and no longer fights off the Nazi the message still lives on in comic book form and has recently been transferred to film with a great amount of ease.


Post 13: Punk ‘n’ Safety Pins

Posted: June 24, 2012 by paulalaki in Uncategorized


The movement of punk began in the mid-1970s originally in England, the punk movement was a raw expression of youth frustration manifested through shocking dress which consisted of black studded leather jackets, jeans ripped and held together by safety pins and an enormous amount of hair gel and bright hair colours creating elaborate spiked hair styles.

The music was loud and very angry with lyrics mocking the establishment and the art was hand made and pasted together from a variety of mediums for example: newspaper clippings, photographs, safety pins, paint and black markers then photocopied together.

Punk graphic art is aggressive and wants to reject any kind of rational typography that is similar to art movements Dada and Futurist. Punk has it’s own rationalism and language that any outside would find it a nonsensical mess, personally I always found it a little scary with all the self mutilating body piercings which maybe the point, though it is easy to find the punk influences in modern subcultures today such as the gothic, emo, skater etc…

Punk was outrageous and mocked the establishment. The graphic design from punk lives on in the covers of albums such as sex pistols. The grunge style of youth in revolt is particular to this art form.


(Here is some extra content if you would like to learn more)

<div style=”width:425px” id=”__ss_4918115″> <strong style=”display:block;margin:12px 0 4px”><a href=”; title=”Punk, Post-Punk &amp; the British Design Identity” target=”_blank”>Punk, Post-Punk &amp; the British Design Identity</a></strong> <div style=”padding:5px 0 12px”> View more <a href=”; target=”_blank”>presentations</a> from <a href=”; target=”_blank”>cmoorehead</a> </div> </div>


Post 12: For the Love of Film

Posted: June 24, 2012 by paulalaki in Uncategorized

Saul Bass (1920-1996)

An American graphic designer and Academy Award-winning filmmaker, but he is best known for his design on animated motion picture title sequences made for directors Alfred Hitchcock, Otto Preminger and Martin Scorsese. Bass’s work was in the height of demand during the early ’60s and he designed the titles of many major films including: Psycho, Man with the golden arm, Ocean’s 11 and Vertigo. He also worked as visual consultant on such films as Spartacus and West Side Story. His innovative work was responsible for launching a trend for filmmakers to employ animation and graphic designs in their credit sequences.

I love the work of Saul Bass it is clean and organic and makes great use of white space, his work is very minimalistic but still shows movement and depth in his work. I also love his use of strong coloured backgrounds with the graphics done in solid blocks of black making his posters a stand out strong and dynamic.

I also want to talk about how Saul Bass puts together the title sequence and how he creates movement with the type and graphics that set the feel of the film. Instead I feel that this is something that has to be seen as I would never be able to do it justice in type, which is why I’m (hopefully) including a short film in this blog showing you the title sequence of three of my favourite films Saul Bass did the title sequence for.



NAOKI POST10: Fresh up! 7up!

Posted: June 23, 2012 by mypalmick in Uncategorized





Post 11: type to last

Posted: June 23, 2012 by paulalaki in Uncategorized


Designed by: Giambattista in 1798. Giambattista who throughout his lifetime designed 140 roman typefaces as well as over 115 script typefaces, many of which are still used today including Bodoni.

The typeface Bodoni is one of my top five favourite typefaces, I love the classy old fashioned charm it has. Though if used in the right way can look high end and ultra modern. In my own opinion these typeface works best in a large format on posters and front cover magazines as it draws the eye and gives the public the feeling of importance, elegances and fashion unlike say Times New Roman which leaves the feeling of importance but very very business like.


The typeface features fine serifs against thick strong vertical lines, it is considered a timeless type face and is often used in high end fashion magazines such as Vignelli because it draws the eyes and adds style to the piece.


I hope for the future that this typeface will continue to live on through graphic design and that designers will always find ways to keep this typeface looking modern fresh and new.