Journal Premium Vaughan Oliver

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Iconic graphic designer

« retrospective vaughan oliver at centre pompidou »

Vaughan Oliver has spent more than three decades creating beautifully weird, wonderful and influential work, helping reinvent the approach to record sleeve design. Perhaps most famous for his designs for record label 4AD’s bands such as the Pixies and Cocteau Twins, Oliver’s career has also spanned work with oddball

du 25 mars au 15 mai 2014

director David Lynch, and

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projects in fashion, film,

liver is maybe best known for his work with various photographers under the names v23 and 23 Envelope, making iconic artwork for different artists such as Bush, TV on the Radio, Lush, UVS, Pixies, The Breeders, Bon Iver, Zomby, Cocteau Twins, This Mortal Coil and not the last for David Lynch. This kind of artistic work is what makes the difference between graphics warnings on a chariot and let’s say, a vehicle graphics from Calgary ! We’re all really exited about this.

dance and fine art.Ahead of his talk later this month, Visceral Pleasures : 30 years in 60 minutes, Design Week spoke to Oliver about his celebrated ambiguous style, the

This Iconic graphic designer has spent more than three decades creating beautifully weird, wonderful and influential work, helping reinvent the approach to record sleeve design. Perhaps most famous for his designs for record label 4AD’s bands such as the Pixies and Cocteau Twins, Oliver’s career has also spanned work with oddball director David Lynch, and projects in fashion, film, dance and fine art. Ahead of his talk later this month, Visceral Pleasures : 30 years in 60 minutes, Design Week spoke to Oliver about his celebrated ambiguous style, the importance of collaboration, and the death of designing for record sleeves. Last week, legendary filmmaker, David Lynch (Eraserhead, Blue Velvet, Mulholland Drive, Twin Peaks) released his debut solo, electronic single via iTunes, courtesy of UK label Sunday Best. Two physical format releases are planned for January: a triple gatefold deluxe vinyl package, and also a deluxe CD format. Art direction duties are in the more than capable hands of UK designer Vaughan Oliver.

biography

and the death of designing for record sleeves. Oliver is maybe best known for his work with various photographers under the names v23 and 23 Envelope, making iconic artwork for different artists such as Bush, TV on the Radio, Lush, UVS, Pixies,…

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musician of his kind

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v 23 D e s i g n

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dav i ly n c h s e r i e s

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b ac k to t h e e i g h t i e s

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G r a p h i c i m p l e m e n t.

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gallery

importance of collaboration,

interview

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offset

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v 23 D e s i g n

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s u g g e s t a n d c r e at e

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s l e e v e a rt

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head over heels

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t h e n i n e t i e s wav e

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h i p e d co l l a b o .

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a l b u m cov e r s

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i n h o u s e wo r k

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s oc i a l i m pact

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ESAG Penninghen 31 rue du Dragon, 75006 Paris

At home in Epsom he strides round a book-and-CDlined office. There is a large glass of wine in his hand that, at all times, looks as if it is about to disengorge itself all over the room. But it never does. He is refreshingly idiosyncratic (his first action is to soundly bollock the interlocutor for taking sugar in his coffee : “You HAVE to cut it out John !”). And then once again for mistaking him for a Geordie. He comes from Sunderland ! He has a flush to his cheek and a twinkle in his eye, which make him both very avuncular and slightly diabolical. When his blond-haired son walks into the office he barks: “BECKETT! Say hello to John !” And then starts summoning up cash from around the room for his son’s five-a-side match, while addressing me : “After Samuel, you see ? He was either going to be called Beckett or Pele ! Ha ha ha !” Then to his son : “Those were your first words weren’t they Beckett? I am un chien Andalusia ! Ha ha ha !” On cue Beckett gets embarrassed and protests : “D-a-a-d !” before leaving for footie. His eagerness to be a good host borders, once or twice, on paranoia. Despite knowing me to be a Pixies die-hard, he asks me if I’m bored about hearing about the stories behind the albums and worries that his answers aren’t exciting enough (when, to me they’re gold dust). Due to both of us being mildly deaf, the conversation

keeps descending into the kind of farcical exchange that used to form the backbone of jokes printed on the rear of England’s Glory matchboxes. While he’s no shrinking violet and seems quite at ease with his place in the world of alternative music and design, he obviously sees himself as a collaborator or even a cog in a bigger machine. Even though I spend the afternoon making him talk about himself he very rarely says ‘I’ ; instead he says ‘we’. And the ‘we’ always means something different. It means Ivo Watts-Russell and I, 4AD and I, the Pixies and I, Simon Larbalestier and I, the creative arts students of Epsom University talk, as is often the case with Northern chaps living down South, turns to where our families hail from and it’s not long before we’re chunnering on about Ireland and how the interviewer, in relative terms, loves Wexford and hates Dublin. You don’t paint a painting, worrying about the price. I think the people who are moaning about it John — it’s probably not aimed at them. I didn’t really stop to consider this stuff until after it was done. And then I read on the blogs that there was to be no new music. Well, that’s a Pixies issue. With respect to 4AD and the Pixies, they haven’t just stuck in an extra couple of tracks.


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Journal Premium Vaughan Oliver by Cesar Marandin - Issuu