H FX09373
LO 1.2 - TYPOGRAPHY PRACTITIONERS
INDEX DAVID CARSON
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01
NEVILLE BRODY
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12
HERB LUBALIN
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22
ERIC GILL
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32
WIM CROUWEL
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42
ERIK SPIEKERMANN
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50
BRION GYSIN
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58
WILLIAM BURROUGHS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
64
BRADBURY THOMPSON . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
70
EVALUATION
80
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DAVID CARSON David Carson is known for his typographic and layout style. In particular, his widely imitated aesthetic de ned the so-called "grunge typography" era. He was called the “Father of Grunge art�.
HIS LIFE Carson was born on September 8, 1955 in Corpus Christi, Texas. He attended Cocoa Beach High School, was class president for 3 years, and still considers Cocoa Beach, Florida to be the place he is "most from". He attended San Diego State University, graduating with "Honors and Distinction" a Bachelor of Arts in Sociology. Carson's rst contact with graphic design was in 1980 at the University of Arizona during a twoweek graphics course, taught by Jackson Boelts.
http://www.famousgraphicdesigners.org/david-carson https://in.pinterest.com/mikemcdearmon/graphic-design/
RAYGUN Carson was hired by publisher Marvin Scott Jarrett to design Ray Gun, an alternative music and lifestyle magazine that debuted in 1992.
David Carson Design In 1995, Carson left Ray Gun to found his own studio, David Carson Design, in New York City. He started to attract major clients from all over the United States. During the next three years (1995–1998), Carson was doing work for Pepsi Cola, Ray Ban (orbs project), Nike, Microsoft, Budweiser, Giorgio Armani, NBC, American Airlines and Levi Strauss Jeans, and later worked for a variety of new clients, including AT&T Corporation, British Airways, Kodak, Lycra, Packard Bell, Sony, Suzuki, Toyota, Warner Bros., CNN, Cuervo Gold, Johnson AIDS Foundation, MTV Global, Prince, Lotus Software, Fox TV, Nissan, quiksilver, Intel, Mercedes-Benz, MGM Studios and Nine Inch Nails. He named and designed the rst issue of the adventure lifestyle magazine Blue, in 1997. David designed the rst issue and the rst three covers. Carson's cover design for the rst issue was selected as one of the "top 40 magazine covers of all time" by the American Society of Magazine Editors. In 2000, Carson closed his New York City studio and followed his children to Charleston, South Carolina, where their mother had relocated them. Since then he has lived in San Diego, Seattle, Zurich, and Tortola . Currently he lives and works in NYC.
http://www.famousgraphicdesigners.org/david-carson http://www.designishistory.com/1980/ray-gun/ http://www.davidcarsondesign.com/t/tag/poster/
02
His Works
https://in.pinterest.com/wannaseemysass/chaotic/ https://in.pinterest.com/loveweizhao/david-carson-design/
https://in.pinterest.com/maddiemturnbull/theatre-poster-design/
04
http://www.davidcarsondesign.com/t/tag/poster/
https://www.behance.net/gallery/497105/David-Carson-Lecture-Series-Poster
06
https://in.pinterest.com/josh1056/research-david-carson-geigy-other-poster-designer/
http://archive.neural.it/init/default/show/2007
08
SURF BOARDS
http://www.davidcarsondesign.com/t/clients/quiksilver/ https://www.behance.net/gallery/934138/David-Carson-Timeline
http://www.davidcarsondesign.com/t/tag/surfboard/ http://www.davidcarsondesign.com/t/clients/quiksilver/ http://weandthecolor.com/david-carson-all-for-a-few-good-waves/70420
10
NEVILLE
BRODY
Neville Brody (born 23 April 1957) is an English graphic designer, typographer and art director. Neville Brody is an alumnus of the London College of Communication and Hornsey College of Art, and is known for his work on e Face magazine (1981–1986) and Arena magazine (1987–1990) which also includes David Beckham in the poster, as well as for designing record covers for artists such as Cabaret Voltaire, e Bongos, and Depeche Mode. He created the company Research Studios in 1994 and is a founding member of Fontworks. He is the new Head of the Communication Art & Design department at the Royal College of Art.
Fuse 2 His Life Born in Southgate, London Neville Brody was a lover of ne art and painting. He had an obsession with art in the 1960s and 1970s. He commented that he does not remember a time in his life when he was planning to do anything other than art or painting. He attended Minchenden Grammar school and studied A-Level Art, very much from a ne art viewpoint. In 1975 Brody went on to do a Fine Art foundation course at Hornsey College of Art, once renowned for its late sixties agitation, now part of Middlesex University.
Launched by Neville Brody and Jon Wozencroft in 1991, FUSE was the ground-breaking publication that took design and typography into radically new and unforeseen spaces.
https://en.wikipedia.org/wiki/Neville_Brody https://leekarkar.wordpress.com/2015/03/12/neville-brody-typography-designer/
Currently Neville Brody still also continues to work as a graphic designer and together with business partner Fwa Richards launched his own design practice, Research Studios, in London in 1994. e company is best known for its ability to create new visual languages for a variety of applications ranging from publishing to lm. It also creates innovative packaging and website design for clients such as Kenzo, corporate identity for clients such as Homechoice, and on-screen graphics for clients such as Paramount Studios, makers of the Mission Impossible lms.
http://brody-associates.com/ https://in.pinterest.com/janelane1/bradbury-thompson-layout-style/
Brody's team 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. A sister company, Research Publishing, produces and publishes experimental multi-media works by young artists. e primary focus is on FUSE, the conference and quarterly forum for experimental typography and communications. e publication is approaching its 20th issue over a publishing period of over ten years. ree FUSE conferences have so far been held, in London, San Francisco and Berlin.
12
ALBUM COVERS
http://inkbotdesign.com/neville-brody/ http://www.johncoulthart.com/feuilleton/2006/04/23/neville-brody-and-fetish-records/ http://www.johncoulthart.com/feuilleton/2006/04/23/neville-brody-and-fetish-records/
https://nevillebrodypage.wordpress.com/album-covers/ https://yvonnesqi.wordpress.com/2015/03/13/topic-7-neville-brody/ https://in.pinterest.com/aaronbonshor/a2-neville-brody/ http://www.dezeen.com/tag/Neville-Brody/
14
TYPOGRAPHY
https://in.pinterest.com/pin/398146423282210214/
http://testpressing.org/2013/05/the-face-neville-brody-lesson-in-typography/
16
http://likesuccess.com/author/neville-brody
https://in.pinterest.com/90sfreak/neville-brody/ http://sourayaf.blogspot.in/2010/04/contemporary-typography-neville-brody.html
18
MAGAZINE
https://in.pinterest.com/benbmason/neville-brody/
http://www.csun.edu/~pjd77408/DrD/Art461/LecturesAll/Lectures/PublicationDesign/DigitalTimes/Digital-Publication.html
20
HERB LUBALIN Herbert F. Lubalin was an American graphic designer. He collaborated with Ralph Ginzburg on three of Ginzburg's magazines: Eros, Fact, and Avant Garde, and was responsible for the creative visual beauty of these publications. He designed a typeface, ITC Avant Garde, for the last of these; this font could be described as a reproduction of artdeco, and is seen in logos created in the 1990s and 2000s. On March 17, 1918, Herbert F. Lubalin was born in New York, United States. At the age of seventeen, he was enrolled in a privately funded college located in the East Village, Cooper Union. An array of possibilities offered by the eld of typography as a communicative implement fascinated him. Lubalin learned about the fundamentals of typography and was awestruck by the impact a typeface can have if traded with another and how it affects the whole text’s interpretation. Upon receiving his graduation degree in 1939, he had a rough time searching a suitable job. He was able to get a job at a display rm, though he got sacked after requesting a two dollar raise on his weekly salary.
https://in.pinterest.com/toussaintlois/herb-lubalin/
History Ginzburg rst launched Eros which was dedicated to beauty and emerging sense of sexuality in the burgeoning counterculture. It had a large format, similar to a regular book rather than a quarterly magazine, with no advertisement. Lubalin’s editorial design for the magazine is considered one of the brilliant of its kind. However, following an obscenity case led by the US Postal Service against the magazine it immediately folded. e managing editor of Fact Warren Boroson de ned it as having spiced up issues instead of sugarcoated pieces like in Reader’s Digest. Lubalin applied an elegant design to the magazine with minimalist palette, based on dynamic serifed typography and exquisite illustrations. Notwithstanding the fact that the magazine received great reviews, it followed the lead of its predecessor and folded. It was a consequence of their publication of an article on the Republican presidential candidate Barry Goldwater, titled “e Unconscious of a Conservative: A special Issue on the Mind of Barry Goldwater” .
Lubalin found work at Reiss Advertising and eventually he was landed a job at Sudler & Hennessey. At S & H he became a practitioner of a wide range of skills. In fact, it was he who attracted talent from multidiscipline, such as design, typography and photography, to the rm. While working there he made associates with George Lois, John Pistilli and Art Kane. He stayed with Sudler & Hennessey for two long decades before he decided to establish his own design rm, Herb Lubalin, Inc in 1964. With the foundation of his private studio he enjoyed the liberty of taking on a variety of art projects. He excelled in a number of projects including poster designing, magazine designing and packaging and identity solutions. Lubalin’s talent was best manifested when he designed Ralph Ginzburg’s succession of magazines; Eros, Fact and Avant Garde.
http://www.famousgraphicdesigners.org/eric-gill https://en.wikipedia.org/wiki/Eric_Gill
22
AVANT GARDE
https://in.pinterest.com/adamvettraino/herb-lubalin/
https://in.pinterest.com/adamvettraino/herb-lubalin/ https://en.wikipedia.org/wiki/ITC_Avant_Garde
24
OTHER WORK
http://type-lover.tumblr.com/post/47292575354/beards-by-herb-lubalin-master-piece
http://meetinghouse.co/2013/02/10/inspiration-herb-lubalin/ https://in.pinterest.com/19k4gmnm3vd4fro/herb-lubalin-modern-art/
26
U&lc
http://www.printmag.com/typography/herb-lubalin-work-typogrpahy/
https://eyeondesign.aiga.org/design-history-101-herb-lubalins-ulc-the-ďŹ rst-magazine-for-typeface-lovers/
28
LOGOS
http://monowolf.com/2012/07/design-by-herb-lubalin/ http://www.graphics.com/article/herb-lubalin-master-typographic-logo
https://in.pinterest.com/pin/81979655690177962/ https://mobile.twitter.com/typographica/status/636647149657128960
30
ERIC
GILL Arthur Eric Rowton Gill ARA was an English sculptor, typeface designer, stonecutter and printmaker, who was associated with the Arts and Crafts movement. He is a controversial gure, with his well-known religious views and subject matter generally viewed as being at odds with his sexual behaviour, including his erotic art. Gill was named Royal Designer for Industry, the highest British award for designers, by the Royal Society of Arts. He also became a founder-member of the newly established Faculty of Royal Designers for Industry. Gill was born in 1882 in Hamilton Road, Brighton and grew up in the Brighton suburb of Preston Park. One of twelve children, he was the elder brother of MacDonald "Max" Gill (1884–1947), the well known graphic artist.
https://en.wikipedia.org/wiki/Eric_Gill http://www.npg.org.uk/collections/search/portrait/mw45119/Eric-Gill
In 1897 the family moved to Chichester. He studied at Chichester Technical and Art School, and in 1900 moved to London to train as an architect with the practice of W.D. Caroe, specialists in ecclesiastical architecture. Frustrated with his training, he took evening classes in stonemasonry at Westminster Technical Institute and in calligraphy at the Central School of Arts and Crafts, where Edward Johnston, creator of the London Underground typeface, became a strong in uence. In 1903 he gave up his architectural training to become a calligrapher, letter-cutter, and monumental mason.
Typeface One of Gill's rst independent lettering projects was creating an alphabet for W.H. Smith's sign painters. In 1925 he designed the Perpetua typeface, with the uppercase based upon monumental Roman inscriptions, for Morison, who was working for the Monotype Corporation. An in-situ example of Gill's design and personal cutting in the style of Perpetua can be found in the nave of Poling church in West Sussex, on a wall plaque commemorating the life of Sir Harry Johnston. He designed the Gill Sans typeface in 1927–30, based on the sans-serif lettering originally designed for the London Underground. (Gill had collaborated with Edward Johnston in the early design of the Underground typeface, but dropped out of the project before it was completed.) In the period 1930–31 Gill designed the typeface Joanna which he used to hand-set his book, An Essay on Typography.
Sculpture Working from Ditchling in Sussex, where he lived with his wife, in 1910 Gill began direct carving of stone gures. ese included Madonna and Child (1910), which English painter and art critic Roger Fry described in 1911 as a depiction of "pathetic animalism", and Ecstasy (1911). Such semi-abstract sculptures showed Gill's appreciation of medieval ecclesiastical statuary, Egyptian, Greek and Indian sculpture, as well as the Post-Impressionism of Cézanne, van Gogh and Gauguin.[5] His rst public success was Mother and Child (1912). A self-described "disciple" of the Ceylonese philosopher and art historian Ananda Coomaraswamy, Gill was fascinated during this period by Indian temple sculpture.[6] Along with his friend and collaborator Jacob Epstein, he planned the construction in the Sussex countryside of a colossal, hand-carved monument in imitation of the large-scale Jain structures at Gwalior Fort in Madhya Pradesh, to which he had been introduced by the Indiaphile William Rothenstein. https://en.wikipedia.org/wiki/Eric_Gill https://in.pinterest.com/thoughtalice/design-eric-gill/
32
SCULPTURE
https://in.pinterest.com/pin/314196511478393586/ https://www.theguardian.com/artanddesign/2014/nov/29/felix-dennis-archive-eric-gill-sothebys
http://www.sothebys.com/en/auctions/ecatalogue/2013/modern-post-war-british-art-l13143/lot.101.html http://www.the-big-picture.org.uk/wordpress/?page_id=10092
34
TYPOGRAPHY
https://typography.guru/journal/monotype-released-the-eric-gill-series-r46/ http://shelleysdavies.com/eric-gill/
https://www.typotheque.com/articles/re-evaluation_of_gill_sans http://www.printmag.com/typography/type-history-century-exhibit/
36
POSTER
http://luc.devroye.org/fonts-26302.html
https://www.behance.net/gallery/8591025/Eric-Gill-Poster
38
http://shaslam.acadnet.ca/blog/?page_id=45
http://luc.devroye.org/fonts-26302.html
40
WIM CROUWEL Willem Hendrik "Wim" Crouwel born 21 November 1928 is a Dutch graphic designer, type designer, and typographer. Between 1947 and 1949, he studied Fine Arts at Academie Minerva in Groningen, the Netherlands. In addition, he studied typography at what is now the Gerrit Rietveld Academie in Amsterdam.
Work In 1963, he was one of the founders of the design studio Total Design (currently named Total Identity). From 1964 onwards, Crouwel was responsible for the design of the posters, catalogues and exhibitions of the Stedelijk Museum in Amsterdam. In 1967 he designed the typeface New Alphabet, a design that embraces the limitations of the cathode ray tube technology used by early data display screens and phototypesetting equipment, thus only containing horizontal and vertical strokes.
In the years Crouwel worked for Total Design, he designed many geometric wordmarks, one of which is the wordmark for the Dutch Rabobank, designed in 1973. e lettershapes have been in uenced by the fact that the wordmark had to be used as a 3D light box. After the 3D application was nalized, the 2D design for print was adapted.
Other typefaces from his hand are Fodor and Gridnik. In 1970 he designed the Dutch pavilion for Expo '70 (Osaka, Japan). Later, Crouwel designed the Number Postage Stamps for the Dutch PTT, well known in the Netherlands during its circulation from 1976-2002.
According to Wim Crouwel, New Alphabet was ‘over-the-top and never meant to be really used’. However, as unreadable as it was, it made a comeback in 1988 when designer Brett Wickens used a version of the font on the sleeve of Substance by Joy Division In addition to his work as a graphic designer, he was also active in the educational eld. In the 1950s he worked as a teacher at the Royal Academy for Art and Design in 's-Hertogenbosch (currently called Akademie Voor Kunst en Vormgeving St. Joost or AKV|St. Joost) and at the predecessor of what is now the Gerrit Rietveld Academie. Between 1965 and 1985 he was connected to the department of industrial design of the Delft University of Technology.
https://en.wikipedia.org/wiki/Wim_Crouwel http://www.iconofgraphics.com/wim-crouwel/
Professor Crouwel was appointed a part-time professor at Delft Technical University (TU Delft). When he was offered the position of a full-time professor at TU, he left Total Design (1980). Museum Boijmans Van Beuningen nominated him the Director of the museum, in 1985. In 1987, when he accepted the Private Chair at Erasmus University, Rotterdam, he consolidated his position as one of the leading educationists. Besides, Crouwel received several honorary accolades such as Officer of the Most Excellent Order of the British Empire (OBE), Honorary Royal Designer for Industry, UK, Honorary Member of the Deutsche Werkbund and Knight of the Order of the Dutch Lion.
https://en.wikipedia.org/wiki/Wim_Crouwel https://speckyboy.com/icons-graphic-design-wim-crouwel/
His works has been exhibited at international level and was presented quite a number of European design awards. In 2011, a major retrospective “Wim Crouwel: A Graphic Odyssey” was held at London and Amsterdam in the Design Museum and the Stedelijk Museum. Moreover, Wim Crouwel’s iconic work has made him the subject of many books including Kees Broos and David Quay’s Wim Crouwel Alphabets, Frederike Huygen and Hugues Boekraad’s Wim Crouwel: Mode en Module. A compilation of his lectures and essays, titled Wim Crouwel: In His Own Words, has been published in 2010.
42
LOGO’S
http://relaedesign.blogspot.in/2015/09/graphics-wim-crouwel.html
http://relaedesign.blogspot.in/2015/09/graphics-wim-crouwel.html
44
GRID
https://www.creativereview.co.uk/wim-crouwel-from-groningen-to-gridnik/ http://www.iconofgraphics.com/wim-crouwel/ http://ashleysblog.myblog.arts.ac.uk/2013/02/10/wim-crouwel-visible-grids-and-his-hiroshima-typeface/
https://speckyboy.com/icons-graphic-design-wim-crouwel/
46
TYPEFACES
http://www.dezeen.com/2012/06/29/typefaces-by-wim-crouwel-for-the-foundry/ http://luc.devroye.org/fonts-24196.html http://www.dezeen.com/2012/06/29/typefaces-by-wim-crouwel-for-the-foundry/
http://www.dezeen.com/2014/07/09/wim-crouwel-designs-typeface-for-holland-ďŹ fa-world-cup-2014-kit/ http://www.fadn303.net/cameron/sites/wordpress/?cat=4 https://in.pinterest.com/aleshamundt/wim-crouwel/
48
ERIK
SPIEKERMANN Erik Spiekermann (born May 30, 1947 in Stadthagen, Lower Saxony) is a German typographer and designer. He is a professor at the University of the Arts Bremen. Spiekermann studied art history at Berlin's Free University, funding himself by running a letterpress printing press in the basement of his house. Between 1972 and 1979, he worked as a freelance graphic designer in London before returning to Berlin and founding MetaDesign with two partners. In 1989, he and his then-wife, Joan Spiekermann started FontShop, the rst mail-order distributor for digital fonts. FontShop International followed and now publishes the FontFont range of typefaces. MetaDesign combined clean, teutonic-looking information design and complex corporate design systems for clients like BVG (Berlin Transit), Düsseldorf Airport, Audi, Volkswagen and Heidelberg Printing, amongst others. In 2001, Spiekermann left MetaDesign over policy disagreements and started UDN | United Designers Networks with offices in Berlin, London, and San Francisco.
https://en.wikipedia.org/wiki/Erik_Spiekermann https://in.pinterest.com/pin/519039925778420275/ http://www.freundevonfreunden.com/interviews/erik-spiekermann/
Biblography In April 2006, the Art Center College of Design in Pasadena awarded Spiekermann an Honorary Doctorship for his contribution to design. His family of typefaces for Deutsche Bahn (German Railways), designed with Christian Schwartz, received a Gold Medal at the German Federal Design Prize in 2006, the highest such award in Germany. In May 2007 he was the rst designer to be elected into the European Design Awards Hall of Fame. As of January 2007, UDN has been renamed SpiekermannPartners, and as of January 2009 it has been renamed Edenspiekermann. e currently operative offices are in Amsterdam, Berlin, San Francisco and Stuttgart. Spiekermann is considered a very in uential personality in the eld of graphic design. He often attends international meetings, and has been giving a substantial contribution in several elds, such as app development and city plan.
His Work Spiekermann created and released corporate font family for Nokia which was met with huge praise. Later he collaborated with Christian Schwartz and introduced his typeface family for Deutsche Bahn (German Railways). In 2006, he was awarded the most prestigious German award, a Gold Medal at the German Federal Design Prize. e award jury declared Spiekermann’s new type system a masterpiece as it helped spread information culture in Germany. His typeface is characterized as displaying updated and re ned brand image which made sure easier intake of information for customers.
https://en.wikipedia.org/wiki/Erik_Spiekermann https://in.pinterest.com/marinacolell/12-erik-spiekermann/
In 2001, Spiekermann gave his resignation to MetaDesign following a policy disagreement issue. Subsequently, he established a new rm named United Designers Networks which has offices in Berlin, San Francisco and London. In 2007, the rm was renamed SpiekermannPartners and two years later it was revised again as Edenspiekermann. Moreover, Spiekermann offered his services as a professor at the University of the Arts, Bremen. Some of his seminal works such as commercial typefaces and corporate design programmes include Berliner Grotesk, ITC Officina Sans, Nokia Sans and FF Meta Serif.
50
TYPOGRAPHY
http://abduzeedo.com/designchat-guest-erik-spiekermann http://abduzeedo.com/designchat-guest-erik-spiekermann
http://luc.devroye.org/fonts-26227.html
52
LOGO
http://yonghaoyan.com/portfolio/identity-system-erik-spiekermann/attachment/spiekermann_02/ http://ahanabusa.com/Erik-Spiekermann-Identity
https://themapr.wordpress.com/2010/01/05/the-evolution-of-the-nokia-brand-and-logo-time-for-change/ http://klear.com/proďŹ le/espiekermann
54
BOOK
https://www.fontfont.com/news/hello-i-am-erik-book-release
META-DESIGN
http://www.shelbylindblad.com/meta/ http://eyeondesign.aiga.org/getting-to-know-erik-spiekermann-in-his-impressive-monograph-hello-i-am-erik/
56
BRION GYSIN Brion Gysin (19 January 1916 – 13 July 1986) was a painter, writer, sound poet, and performance artist born in Taplow, Buckinghamshire. He is best known for his discovery of the cut-up technique, used by his friend, the novelist William S. Burroughs. With the engineer Ian Sommerville he invented the Dreamachine, a icker device designed as an art object to be viewed with the eyes closed. It was in painting and drawing, however, that Gysin devoted his greatest efforts, creating calligraphic works inspired by the cursive Japanese "grass" script and Arabic script. Burroughs later stated that "Brion Gysin was the only man I ever respected.” John Clifford Brian Gysin was born at the Canadian military hospital in the grounds of Cliveden, Taplow, England. His mother, Stella Margaret Martin, was a Canadian from Deseronto, Ontario. His father, Leonard Gysin, a captain with the Canadian Expeditionary Force, was killed in action eight months after his son's birth. Stella returned to Canada and settled in Edmonton, Alberta where her son became "the only Catholic day-boy at an Anglican boarding school".
https://en.wikipedia.org/wiki/Brion_Gysin http://alchetron.com/Brion-Gysin-747712-W
Graduating at fteen, Gysin was sent to Downside School in Stratton-on-the-Fosse, near Bath, Somerset in England, a prestigious college run by the Benedictines and known as "the Eton of Catholic public schools". Despite, or because of, attending a Catholic school, Gysin became an atheist.
Later Years In 1985 Gysin was made an American Commander of the French Ordre des Arts et des Lettres. He'd begun to work extensively with noted jazz soprano saxophonist Steve Lacy. ey recorded an album in 1986 with French musician Ramuntcho Matta, featuring Gysin singing/rapping his own texts, with performances by Lacy, Don Cherry, Elli Medeiros, Lizzy Mercier Descloux and more. e album was reissued on CD in 1993 by Crammed Discs, under the title Self-Portrait Jumping. On July 13, 1986 Brion Gysin died of lung cancer. An obituary by Robert Palmer published in e New York Times ttingly described him as a man who "threw off the sort of ideas that ordinary artists would parlay into a lifetime career, great clumps of ideas, as casually as a locomotive throws off sparks". Later that year a heavily edited version of his novel, e Last Museum, was published posthumously by Faber & Faber (London) and by Grove Press (New York). As a joke, Gysin had contributed a recipe for marijuana fudge to a cookbook by Alice B. Toklas; it was unintentionally included for publication, becoming famous under the name Alice B. Toklas brownies.
Surrealism In 1934, he moved to Paris to study La Civilisation Française, an open course given at the Sorbonne where he made literary and artistic contacts through Marie Berthe Aurenche, Max Ernst's second wife. He joined the Surrealist Group and began frequenting Valentine Hugo, Leonor Fini, Salvador Dalí, Picasso and Dora Maar. A year later, he had his rst exhibition at the Galerie Quatre Chemins in Paris with Ernst, Picasso, Hans Arp, Hans Bellmer, Victor Brauner, Giorgio de Chirico, Dalí, Marcel Duchamp, René Magritte, Man Ray and Yves Tanguy. On the day of the preview, however, he was expelled from the Surrealist Group by André Breton, who ordered the poet Paul Éluard to take down his pictures.
https://en.wikipedia.org/wiki/Brion_Gysin https://in.pinterest.com/mariehelgesen/william-s-burroughsbrion-gysin/ http://www.coolhunting.com/culture/alarme
58
PAINTING
http://fadmagazine.com/2010/07/07/ďŹ rst-us-retrospective-of-work-by-brion-gysin-dream-machine-at-new-museum-nyc-fromwednesday-7th-july-2010/
http://www.octobergallery.co.uk/artists/gysin/ http://www.octobergallery.co.uk/artists/gysin/
60
CUT OUT
http://realitystudio.org/scholarship/a-trip-from-here-to-there/two/
https://in.pinterest.com/pin/348747564866089545/
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WILLIAM BURROUGHS His life William Seward Burroughs II was an American novelist, short story writer, satirist, essayist, painter, and spoken word performer. Burroughs was a primary gure of the Beat Generation and a major postmodernist author who wrote in the paranoid ction genre, and his in uence is considered to have affected a range of popular culture as well as literature. Burroughs wrote eighteen novels and novellas, six collections of short stories and four collections of essays. Five books have been published of his interviews and correspondences. He also collaborated on projects and recordings with numerous performers and musicians, and made many appearances in lms. He was born into a wealthy family in St. Louis, Missouri, grandson of the inventor and founder of the Burroughs Corporation, William Seward Burroughs I, and nephew of public relations manager Ivy Lee. Burroughs began writing essays and journals in early adolescence, but did not begin publicizing his writing until his thirties.
Early life Burroughs was born in 1914, the younger of two sons born to Mortimer Perry Burroughs (June 16, 1885 – January 5, 1965) and Laura Hammon Lee (August 5, 1888 – October 20, 1970). His was a prominent family of English ancestry in St. Louis, Missouri. His grandfather, William Seward Burroughs I, founded the Burroughs Adding Machine company, which evolved into the Burroughs Corporation. Burroughs's mother was the daughter of a minister whose family claimed to be related to Robert E. Lee. His maternal uncle, Ivy Lee, was an advertising pioneer later employed as a publicist for the Rockefellers. His father ran an antique and gift shop, Cobblestone Gardens, rst in St. Louis, then in Palm Beach, Florida. As a boy, Burroughs lived on Pershing Ave. in St. Louis's Central West End. He attended John Burroughs School in St. Louis where his rst published essay, "Personal Magnetism", was printed in the John Burroughs Review in 1929. He then attended the Los Alamos Ranch School in New Mexico, which was stressful for him.
https://en.wikipedia.org/wiki/William_S._Burroughs https://in.pinterest.com/rawfnord/william-s-burroughs-23v/
Harvard University
Europe
Burroughs nished high school at Taylor School in Clayton, Missouri, and in 1932, left home to pursue an arts degree at Harvard University, where he was affiliated with Adams House. During the summers, he worked as a cub reporter for the St. Louis PostDispatch, covering the police docket. He disliked the work, and refused to cover some events, like the death of a drowned child. He lost his virginity in an East St. Louis, Illinois brothel that summer with a female prostitute he regularly patronized. While at Harvard, Burroughs made trips to New York City and was introduced to the gay subculture there. He visited lesbian dives, piano bars, and the Harlem and Greenwich Village homosexual underground with Richard Stern, a wealthy friend from Kansas City. ey would drive from Boston to New York in a reckless fashion. Once, Stern scared Burroughs so much, he asked to be let out of the vehicle.
After leaving Harvard, Burroughs's formal education ended, except for brief irtations as a graduate student of anthropology at Columbia and as a medical student in Vienna, Austria.
https://en.wikipedia.org/wiki/William_S._Burroughs http://freakybody.blogspot.in/2013/03/william-s-burroughs.html
He traveled to Europe and became involved in Austrian and Hungarian Weimar-era LGBT culture; he picked up young men in steam baths in Vienna, and moved in a circle of exiles, homosexuals, and runaways. ere, he met Ilse Klapper, a Jewish woman eeing the country's Nazi government. e two were never romantically involved, but Burroughs married her, in Croatia, against the wishes of his parents, to allow her to gain a visa to the United States. She made her way to New York City, and eventually divorced Burroughs, although they remained friends for many years.
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Books
http://www.ranker.com/list/best-william-s-burroughs-books/reference http://www.openculture.com/2011/09/william_s_burroughs_reads_his_novel_ijunkyi.html
https://in.pinterest.com/pin/9148005463929100/ http://realitystudio.org/bibliography/ http://realitystudio.org/bibliography/books-and-broadside-prints/ http://williamblakestephens.blogspot.in/2011/08/william-s-burroughs-book-cover-series.html
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PAITINGS
http://www.octobergallery.co.uk/artists/burroughs/ http://leevigogerla.tumblr.com/
https://in.pinterest.com/pin/22940279322982829/ http://www.octobergallery.co.uk/artists/burroughs/
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BRADBURRY
THOMPSON His life Bradbury ompson was a prominent name among the twentieth century American graphic designers and art directors. His iconic achievements were recognized by every major American design organization including AIGA, National Society of Art Directors and Art Directors Hall of Fame. In 1911, Bradbury ompson was born in Topeka, Kansas. He received his formal art education from Washburn College and in 1934 earned his graduation degree. He designed the college’s mascot, “e Ichabod”, in 1937. Upon graduation, he joined Capper Publications as a designer where he worked for a brief period yet thoroughly learned every aspect of printing production. After leaving Capper Publications he relocated to New York, in 1938. Henceforth, began the years of ompson’s zealous learning, polishing of skills and application and expansion of his talent. During this period, he embraced every graphic design opportunity he could. Some of the rms and magazines he worked for included the RogersKellogg-Stillson printing rm and Mademoiselle magazine.
Moreover, he provided consultation and designed for Westvaco Corporation. His life-long successful career is lled with impressive work. ompsons’ three projects in particular that epitomized the graphic designing scene of that time. He worked for a promotional magazine, Westvaco Inspirations, an extension of the Westvaco Paper Corporation, where he designed more than 60 issues. rough the magazine he reached thousands of typographers, students and print buyers. ompson possessed a curious ability which allowed him to blend together classic typefaces and historic illustrations with modernist typographic organization. In addition to graphic designing, ompson also accepted a teaching position at Yale University where he resided for several years.
http://www.famousgraphicdesigners.org/bradbury-thompson http://www.citrinitas.com/history_of_viscom/images/modernism/bradthompson.htm
Making use of modest resources, he did his best to become an inspiring teacher and guide. ompson shed light on typography and the role of typographic designer. According to him, similar to architecture the art of typography is concerned with beauty and utility. A typographic designer is responsible for representing the art of previous ages as well as of the present time. While designing, the designer must add spirit of his own time even when representing past centuries. Instead of making perfect imitation of previous works, the designer must demonstrate the understanding of past works in his piece of art. ompson published a monumental work, entitled e Washburn College Bible. Since Gutenberg’s edition of bible’s assessment of its typography, ompsons’ book is deemed a landmark in the publishing of book on that subject. e book features Jan Tschichold’s Renaissance- avor typeface Sabon and each chapter open with the beautiful reproductions of paintings based on biblical stories.While assessing and analyzing the Christian text, the book kept a sacred tone and held reverence for the biblical text. Besides, ompson was an avid collector of postage stamps and a great interest in contemporary stamp designs.
http://www.famousgraphicdesigners.org/bradbury-thompson https://in.pinterest.com/janelane1/bradbury-thompson-layout-style/
He is credited for providing designs for about 90 postage stamps. In fact, he also consulted with the U.S. Postal Service and assisted them in designing several other stamps. What sets ompsons’ designed postage stamps apart from others is that they scrupulously capture the American history and culture. Some of his famous stamps’ designs include the 1984 ‘Love’ stamp and the 1980 colorful painting of Josef Albers, ‘Learning never ends’. 1995 is marked as the year of departure of one of the most in uential and admired artist of the twentieth century. In his lifetime Bradbury ompsons received several accolades including National Society of Art Directors of the Year Award, induction into Art Directors Hall of Fame, Frederic W. Goudy Award from RIT and AIGA Medal.
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TYPO
https://in.pinterest.com/pin/328762841527664548/ http://www.aiga.org/bradbury-thompson-alphabet-26/
http://cargocollective.com/christinamoser/Comparative-History http://abcdefridays.blogspot.in/2016/03/bradbury-thompson.html http://haroldsfonts.com/portfolio/mean-26/
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LAYOUT
http://www.citrinitas.com/history_of_viscom/images/modernism/bradthompson.htm https://in.pinterest.com/ocslub1212/bradbury-thompson/
https://in.pinterest.com/wayneford/designers-bradbury-thompson/
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HIS STYLE
https://goo.gl/images/T213Xm
https://goo.gl/images/fYSXmj
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HIS STYLE
https://in.pinterest.com/pin/277675133244589224/ http://www.designishistory.com/1960/bradbury-thompson/
http://cargocollective.com/davidhthorpe/Buzzwords
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