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Graphic Design History from Design Reviewed
Neville Brody

Idea 250, 1995-5

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Special Anniversary Issue ‘DesignX’
Introduction
Chaos & Contradiction
Ambience & Healing
Neville Brody
New Language & Notation
Tomato
Neo-Classic & Ethnic
Ted Polhemus
Street & Beat
Hajime Tachibana
Acoustic & Textured
Shinsuke Shimojo
Noriyuki Tanaka
Symbol & Icons
Force & Neo-Constructivism
Masayoshi Nakajo
List of Artists
About the Cover Design
News & Information, Exhibitions, Book Reviews

Details

Noriyuki Tanaka + Neville Brody
Neville Brody is an internationally recognised art director and brand strategist. He was the creative director of Face magazine and worked with many record labels and clients, including Apple, BBC online, The Times and Channel 4. He has had monographs published that include The Graphic Language of Neville Brody and has exhibited his work at the Victoria and Albert Museum. He is also the founder of design agency Brody Associates. Brody's approach treated typography as image, using letterforms as structural and expressive elements rather than purely communicative ones. In 1994, he co-founded FontShop International with Erik Spiekermann, contributing to the democratisation of type design in the digital era. Explore the Design Reviewed archive to discover artefacts connected to Neville Brody. The Postmodernism section captures the movement his work helped define through the 1980s, while the United Kingdom archive reflects the British design scene he reshaped. Browse the 1980s decade page and  the The Face magazine series.
IDEA (Japan)
Idea is a Japanese design magazine that has been published since 1953, covering typography, visual identity, and contemporary graphics.

Linked Information

Idea 250, 1995-5. Cover design by Noriyuki Tanaka + Neville Brody
Idea 250, 1995-5. Cover design by Noriyuki Tanaka + Neville Brody
More graphic design artefacts
The Face, No 50, June 1984

From the graphic design archive:

The Face, No 50, June 1984

  • Format: Magazine
  • Designer/s: Neville Brody
  • Year: 1984
View Artefact
The Face, No 57, January 1985

From the graphic design archive:

The Face, No 57, January 1985

  • Format: Magazine
  • Designer/s: Neville Brody
  • Year: 1985
View Artefact
FUSE 1-20: From Invention to Antimatter, 20 Years of FUSE, Taschen, 2012

From the graphic design archive:

FUSE 1-20: From Invention to Antimatter, 20 Years of FUSE, Taschen, 2012

  • Format: Book
  • Designer/s: Neville Brody, Jon Wozencroft
  • Year: 2012
View Artefact
FUSE 4, EXUBERANCE; Summer 1992

From the graphic design archive:

FUSE 4, EXUBERANCE; Summer 1992

  • Format: Magazine
  • Designer/s: Neville Brody
  • Year: 1992
View Artefact

view more of the graphic design archive

More graphic design history articles
Inspiring students from Leeds Beckett University

Workshops and Lectures

Inspiring students from Leeds Beckett University

Last month (March 2022), I spoke to over fifty Graphic Design undergraduates about the archive and my passion for design history, after which the students had full access to items in the collection and participated in discourse amongst their peers and lecturers. As part of their critical studies unit, the students will be producing essays and content related to the impact, history and aesthetics of selected artefacts.

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The 1950s and 1960s Advertisements of Kast + Ehinger (K+E)

Advertising Design, Design Archive Feature, Members Only Content

The 1950s and 1960s Advertisements of Kast + Ehinger (K+E)

As part of their marketing strategy, Kast + Ehinger, commissioned a selection of German designers to produce advertisements aimed at the design industry. I have scanned in quite a lot of their advertising matter, all of which were back-page advertisements from three German design magazines. Der Druckspiegel, Gebrauchsgraphik and Graphik – Werbung + Formgebung.

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Art Nouveau and the Magazine Cover

Movements, Design Archive Feature, Members Only Content

Art Nouveau and the Magazine Cover

Art Nouveau spread through magazine covers across Europe, from the German Jugend to the Czech Typografia, and regional variations shaped the movement's visual style in print.

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