From the 1980s British designer Neville Brody established an international reputation for experimental design in a wide range of visual communication media, capitalizing on the creative potential of Apple Macintosh computers. This was given ‘official’ approbation by the exhibition of his work at the Victoria and Albert Museum, London, in 1988, and a one‐man show in Tokyo two years later. His prolific output included a range of commissions involving digital typography, magazine design (including art direction of the innovative style magazine The Face), postage stamp design, and television graphics. After studying graphic design at the London College of Printing from 1976 to 1979, Brody was involved in design for the British music industry, including a range of sleeve designs for independent record companies such as Rocking Russian, Stiff Records, and Fetish Records. He attracted greater public attention through his work on The Face from 1981 to 1986, 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. From 1983 to 1987 he also designed covers for the style‐conscious London listings magazine City Limits before going on to design for Arena, the men's magazine, from 1987 to 1990. For the latter he employed a much more restrained, minimal aesthetic. He founded The Studio in London in 1987 and soon attracted a range of international clients including conservation activists Greenpeace, Japanese stores retailers such as Parco, the Dutch postal service PTT, and the Austrian state broadcasting company ORF. Reflecting his growing interest in the design of his own typefaces, in 1990 he established FontWorks in London, also becoming a director of FontShop International in Berlin and launching the experimental typographic magazine FUSE. He has placed considerable emphasis on the role of the computer as a graphic design tool, the development of digital typography, and electronic design as an important means of communication
Subjects: Industrial and Commercial Art.