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Neville Brody

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Sandra Riad

on 9 June 2011

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Transcript of Neville Brody

Designer Typographer Art Director Brand Strategist Inspired by the Punk Explosion Studied at Hornsey School of Art and at
London College of Printing NEVILLE BRODY Born 1975 in London Joined Rocking Russian Record Company creating a number of record covers before joining Stiff Records in 1980.

There he developed his unique design philosophy and his concern that design should be a dialogue used to reveal, rather than conceal. Brody contributed to The Face magazine from 1981-1986.
That's when he first gained public recognition.

By then his focus had shifted from image creation towards type experimentation.

Brody's ideas continued to evolve after he left The Face to become Art Director of the newly-launched men's magazine, Arena. He founded ‘Research Studios’ in 1994. In 1990, Brody and Stuart Jensen formed Fontworks, a font distribution company set up to supply for digital typefaces.

He is still involved with Fontworks in a design and advisory capacity and took a leading role in projects such as 'Fuse', an experimental typography magazine. "An electrician isn't an opinion former, but a graphic designer is. My argument is that all graphic designers hold high level of responsibility in society. We take invisible ideas and make them tangible. That's our job." Brody created new typefaces for Arena Homme + Edition 32 ‘Popaganda’ making a long awaited returned to the world of magazines. Selected seminal projects by Research Studios have included branding and packaging for Kenzo perfumes (1999 – present Paris) The branding and visual identity for the ONE campaign in American (2005 New York) Complete redesign of The Times newspaper in (November 2006 London) According to Brody, Times Modern does not only allow us to read the news, it allows us to read it faster and better. As such, Brody depicts his font as being purely utilitarian, a medium created primarily to make the content of a newspaper more accessible, rather than an art form able to communicate meaning in its own design and structure. This type of argument effectively eclipses the notion that font communicates anything independent of content simply by making content the dominant focus. A unique collaboration with the Royal Family of Jordan and their End of Year card 2009. PARIS LONDON BARCELONA NEW YORK In 2010 Brody collaborated closely with the BBC to redesign their online Global Visual Language (GVL) and take the organisation and its users into a more compelling digital space. 1.Modern British: Creates a modern British design aesthetic, something vibrant and quirky that translates outside our national boundaries.
2.Current: Feels current and reflects what’s happening in the UK right now, in real-time. Curates a timeline of Britain and links to the past, to the BBC’s rich archive.
3.Authentic: Sounds authentic and relevant, warm and human. References the BBC’s iconic design and broadcasting heritage. Values the trust placed in the organisation.
4.Compelling: Engages audiences with compelling storytelling. Voices range from serious and authoritative through to witty and entertaining.
5.Distinctive: Stands out from the crowd. Strikes a balance between overly templated, cookie-cutter design and beautiful anarchy. Bold and dramatic.
6.Pioneering: Pioneering design innovations that surprise and delight, yet take the audiences with them.
7.Joined-up: Views all services and platforms as one connected whole but delivers experiences that are sensitive to their context of use.
8.Universal: Services are open and accessible. Interfaces are simple, useful and intuitive.
9.Best: Ambition is to be the best digital media brand in the world. Other of his latest works Studied at the Hornsey School of Art and at the
London College of Printing Typographer Art Director Designer Brand Strategist
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