Storm Thorgerson of Norwegian descent became one of England’s best known graphic designers. In 1968 Thorgerson teamed up with Aubrey Powell and both became the founders of the graphic art group known as Hypgonsis.
Originally the company had set out to design singles and album covers related to the music industry.
One of the closest connections from the music industry to help boost Hypgnosis was Rogers Waters from Pink Floyd who had known Thorgerson during school years in Cambridge.
Thorgerson and Waters played rugby together during the schooling years. Thorgerson also became teenage friends with David Gilmor, guitarist of Pink Floyd.
Thorgerson, best known for his album work on the highly recognisable Pink Floyd (Dark Side of The Moon) later went on further to produce hits designs from artists such as:
Pink Floyd, Led Zeppelin, Nik Kershaw, Black Sabbath, Scorpions, Peter Gabriel, Genesis, Al Stewart, Europe, Catherine Wheel, Bruce Dickinson, Dream Theater, Anthrax, The Cranberries, The Mars Volta, Muse, The Alan Parsons Project, Biffy Clyro and Rival Sons.
Thorgerson and his team released several books detailing their work. (The Gathering Storm) – (A Quartet in Several Parts) was the last.
2013, Prog magazine renamed its Grand Design Award after Thorgerson. It is now known as the “Thorgerson Grand Design Award and will be given to the designer of the year’s best packaged product. Incidently, Thorgerson had won the award in 2012 for his work with Pink Floyd.
Rash – (The Documentary)
Contributor to: Graphic design in the 20th century
Two of the finest art collections of medieval graphics reside in a small village high in the Swiss mountains. Engelberg also the birth place of an extraordinary graphic artist known for his Graphic Designs, Photography and Posters. Medieval art may have contributed to the styles adopted by Herbert Matter in earlier days, however, given the time as being a more than limited visually marketing period Herbert Matter set out to change all of that by adopting photography methods to social modernism.
The time is 1907, the year european Herbert Matter was born and destined to do great things. In 1925 he studied art at the Ecole des Beaux-Arts in Genva for two years until modernism became an attractive pursuit.
Paris was the place to be in these extended expressive graphical times, Herbert Matter attended the Academie Moderne under the tutelage of Fernand Léger and Amédée Ozenfant. In his late twenties and early thirties Herbert expressed a talent in multiple scopes of creative tools for example: photography, graphic design, journalism, were all revolutionary, however, it was through his experimentation with Rollei as a design tool and expressive form that shaped a never ending relationship with Matter.
As one can imagine, Herbert Matter was indeed a very colourful and distinguished artist with a long history of sound employment, awards and presentations. However, turning the focus now onto the main topic of POSTERS Herbert Matter was offered a roundtrip passage to America in 1939 for payment of his commissioned work by the Swiss Ballet Troupe. When the work was over he remained in New York.
Matter soon began taking photographs for Harper’s Bazaar and Saks Fifth Avenue. He affiliated himself with a photographic studio “Studio Associates”, located near the Condeé Nast offices, where he produced many of his finest works.
During World War II, he made numerous striking posters for the container corporation of America. In 1944 he also became the design consultant at knoll, creating a graphic identity for more than 12-years.
In a nutshell Herbert Matter was good at everything he tried to do. From 1958 to 1968 he was the senior design consultant for the Guggenheim Museum, he applied an elegant typographic style to their posters and catalogues many of which are still in print today.
text freaks, font fanatics, call them what you want. Tonight I sat down to complete a project about Typographers. I hastily chose a “subject” around a week ago from the long list of potential typographers to complete my research notes.
The briefing details were quite simply to pick a person from the list and to script an editorial piece, a show and tell about this person. To begin I could find the list of typographers posted on the team blog.
I chose Carol Twombly, for no particular reason, I mean, it’s not likely a topic for me ever to be interested in again, right? that was until I began to research more about the amazing career of Carol Twombly.
Carol Twombly had been initially inspired to become an artist of difference, a sculpture by hand being her first studies and later on she had changed to graphic design. She graduated from Rhode Island School of Design and moved to Stanford University. Carol Twombly made it into the top five graduates to have Masters of science degrees in computer science and typography design.
While working at Adobe Systems from 1988-1999 Carol Twombly designed and contributed to the design of, many typefaces for example: Trajan, Myriad and Adobe Caslon. Trajan is highly respected within the typographers and graphic designers industry as being one of the best.
Her first international type design competition, Carol Twombly received an award for, “Morisawa gold prize 1984. In 1994 she was the winner of the Prix Charles Peignot, given by the Association Typographique Internationale (Atypl)” The first women, and second American citizen to receive such an award as a promising typeface designer under the age of 35yrs.
Her real achievement personally was to register and trademark 40 designs within her limited time career. Some of these became international success and popularised by many multi media and television studios.
Typical Typefaces created by Twombly.
• Adobe Caslon (1990)
• Californian FB (roman only)
• Chaparral (1997)
• Charlemagne (1989)
• Lithos (1989)
• Mirarae (1984)
• Myriad (1991, designed with Robert Slimbach)
• Nueva (1994)
• Pepperwood (1993)
• Rosewood (1993)
• Trajan (1989)
• Viva (1993)
• Zebrawood (1993)
Twombly had a specialised interest and created many of her typeface fonts inspired by and named after woods and trees were part of an Adobe project to revive American display typefaces from the nineteenth century that had been engraved in wood.
Interestingly, Twombly left the industry around 2014 explaining her reasons for this decision included a lack of interest in designing fonts, also for the failure of Adobe multi master font technology.