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Professional Graphic Design Portfolio
ClaviOn Design1208 San Pedro Dr. NE #230
Albuquerque, NM 87110
(505) [email protected]
2 3
We live in a day and age where we are bombarded with design. We are forced to look at signs, billboards, flyers, and adds on a daily basis. Due to the digital revolution, we also ex-perience design on the Internet, which changes rapidly. This mass of print and digital design can be and usually is, cluttered, annoying and sometimes even intimidating. However, within this cluttered bombardment of design is a powerful tool in business, graphic language. It is often the primary reason for a customer’s subconscious choice of a product or service. This is why all businesses require graphic representation to be successful. Whether it ’s through business cards, brochures, flyers, labels, websites, or even a simple logo, a business must use graphic language to speak to their customers and succeed in the market.
Because we are subjected to so much design on a daily basis it is extremely important that the design representing a business be innovative and outstanding. It should capture a cus-tomer’s attention amidst all the clutter, and give them peace of mind. It should be such good design that it makes the viewer say, “I don’t know why, but I like it and I want to buy it.” A business’s graphic design should speak to the viewer in such a powerful way, that they are sold on the product or service before they even walk in the store. This is our goal for every project at Clavion Design.
Clavion Design is a graphic design firm specializing in print and digital media, located in Albuquerque, New Mexico. We are committed to creating the highest quality graphic work that captures attention with powerful simplicity. Our style focuses on simple, high contrast, geometric graphics and layout that pull a viewer in so they cannot look away.
Our design team headed by chief designer and founder Chris Clavio, works cohesively to create the most stunning graphic work. We are committed to meeting the needs and expecta-tions of every client. We are trained in and use the latest in graphic arts technology includ-ing the latest versions of Adobe Illustrator, Photoshop, InDesign, Dreamweaver, and Flash. Our staff also has experience in graphic design for specialized applications, such as screen-printing and vehicle wraps.
This portfolio contains an assortment of our favorite projects that captures the essence of our design and style. These examples of our design will help you decide what kind of graphic representation your business needs, and provide you with ideas of how Clavion Design can execute those needs. Thank you for considering Clavion Design. We look forward to working with you to create the most sunning and appealing graphic works for your business.
Biography Table of Figures
Logos ........................................................ 4
Business Cards .......................................... 6
Web Banners ............................................. 7
Posters ...................................................... 8
Flyers ........................................................ 9
Brochures ................................................ 10
Spreads ................................................... 11
Websites .................................................. 12
Special Projects ....................................... 14
T-Shirts .................................................... 16
Photoshop ................................................ 17
4 5
Logos
of New MexicoAllay
Azoova ApparelGraphic - One color - 2007
Bountifuel EnergiesGraphic - One color - 2008
Bountifuel EnergiesGraphic - Two color - 2008
Bountifuel EnergiesComplex Graphic - CMYK - 2008
CNM ProjectComplex Graphic - CMYK - 2009
Bountifuel EnergiesGraphic - Two color - 2008
Gold Zone TechnologiesPictorial - CMYK - 2011
Allay of New MexicoGraphic - Three color - 2009
6 7
Business Cards
505·310·[email protected]
Installation
Support
Web DesignNetworking
Home and Business Computing Solutions
Maxwell ClarkeSystems Specialist
LED to the LightThe most sustainable lighting solution
Change a bulb, Change the world
Jesse Kalapa
Education · Marketing · Sales
...on the OutsideWear your Inner Light...
1208 San Pedro Dr. NE #230Albuquerque, NM 87110
Chris Clavio 505.750.4037
Digital FabricGraphic - 3½” x 2 - 2008
Angie PoynterPhotographic - 3½” x 2” - 2010
Technicolour FabriqueGraphic - 3½” x 2 - 2011
LED to the LightGraphic - 3½” x 2 - 2011
Web Banners
UnlimitedClavion Unlimited
2011
Technicolour Fabrique2011
ReviewG ngReviewG ngReview Gong
2011
8 9
Posters
Re-le a s e
Party
april 21st11AM - 1PM
@student services
FestivalMozart
�e New York Traveling Orchestra presents:
Discover Mozart, Beethoven, and more...
May 1st, 2nd, and 3rd @ 8:00PM
For tickets call (505) 925-5858On the web at unmtickets.com
Presented at Popejoy Hall
vancouver 2010
winter Olympic Gameswww.vancouver2010.com
February 12 to 28, 2010 · 12 au 28 ƒévrir 2010
CNM ProjectCampaign - 20” x 30” - 2010
CNM LeonardoEvent - 20” x 30” - 2010
CNM ProjectEvent - 20” x 30” - 2010
CNM ProjectEvent - 20” x 30” - 2009
Flyers
Dear, New Mexico...
...say Hello to Relief
Allay your pain at Allay of New Mexico. We canassist you with all of your questions aboutNew Mexico’s Medical Cannabis Program
216 Yale Blvd SEAlbuquerque, NM 87106
Angie PoynterPhotographic - 4¼” x 5½” - 2010
Allay of New MexicoGraphic - 8½” x 11” - 2009
10 11
Brochures
2 3
New Mexico HealthThe state of New Mexico is working with Allay of New Mexico to ensure that we maintain the highest standard of care for our patients. In turn we are working with the state to ensure that our members receive top quality service throughout the application process. Being that the Medicinal Cannabis program is new to New Mexico, the state has put together a list of frequently asked ques-tions to help those interested in the program know what is required of them to get the process started.
Frequently Asked Questions about Medical Cannabis
Q: What are the conditions make me eligible for the program?A: Currently, there are 15 qualifying conditions: severe chronic
pain, painful peripheral neuropathy, intractable nausea/vomiting, severe anorexia/cachexia, hepatitis C infection currently receiving antiviral treatment, Crohn’s disease, Post-traumatic Stress Disorder, Amyotrophic Lateral Sclerosis (Lou Gehrig’s disease), cancer, glaucoma, multiple sclerosis, dam-age to the nervous tissue of the spinal cord with intractable spasticity, epilepsy, HIV/AIDS and hospice patients.
Q: How do I apply for the Medical Cannabis Program?A: Your physician must certify that you have an eligible condi-
tion, that the condition is debilitating and can not be helped by standard treatments, and that the benefits of medical cannabis usage outweigh the detriments. For post traumatic stress disorder, a psychiatrist’s diagnosis must be included. For glaucoma, an ophthalmologist must provide the diagnosis. For chronic pain, you need objective proof of severe chronic
pain (X-rays, CT scans, MRIs) and receive two recommenda-tions, one from your primary care physician and one from a specialist consulting on your case. The program has 30 days to review your application starting from when the program receives your complete application. If the Medical Director ap-proves your application, the program will issue you a registry ID card. Application application available by visiting www.allaynm.org or calling (505) 827-2321.
Q: If I suffer from one of the eligible conditions, am I auto-matically a certified patient?
A: No. Your medical provider must recommend medical can-nabis for your condition and you must submit an application for the program with all the required forms.
Q: Does my medical provider need a special certification to write a recommendation for medical cannabis?
A: No. Any medical doctor (MD), doctor of osteopathy (DO) or nurse practitioner who can prescribe medicine in New Mexi-co can write a referral for the Medical Cannabis Program.
Q: How much medical cannabis can I possess?A: Six ounces of medical cannabis. You can have more than
six ounces of useable medical cannabis if you provide the Department of Health with a letter of special need from your certifying medical provider. This letter must explain why you need a larger amount and must specify what amount your medical provider thinks you need.
Q: Can I produce my own supply of medical cannabis?A: Yes, patients can apply for a license to do produce their own
medical cannabis. If you are approved, you can have four mature plants and 12 seedlings. The definitions of seedlings and mature plants can be found in New Mexico Adminis-trative Code 7.34.4. Copies of these regulations are sent
New Mexico’s
Medicinal Cannabis Program
Re505 o�ers E-waste recycling for most electronics. Here are some examples:
Desktop ComputersLaptop Computers
CRT MonitorsPrinters
ScannersFax machines
KeyboardsMice
PlasmasLCDs
ServersNetwork Equipment
Stereo equipmentCell PhonesTelevisions
Telecom equipmentDVD players
Copy machinesRechargeable Batteries of any type
505.508.5913 [email protected] - www.Re505.com
Re505 LLC
computer and electronics recycling
Providing businesses,governments, and organizations
with a responsible solutionfor recycling their unwanted
electronics.
Call or email for information aboutour free pickup service.
We also offer data destruction services.Ensure that your data is properly
destroyed and irrecoverable.
www.Re505.com
505.508.5913 - [email protected]
Allay of New MexicoPamphlet - 5½” x 8½” Book - 2009
Re505 LLCRack Card - 4¼” x 11” - 2011
Spreads
26 • Modern Beats, November 30, 2009
The Beatles
Modern Beats, November 30, 2009 • 27
closed down due to noise complaints. When they violated their contract by performing at the rival Top Ten Club, Koschmider re-ported the underage Harrison to the authori-ties, leading to his deportation in November. McCartney and Best were arrested for arson a week later when they set fire to a condom hung on a nail in their room; they too were deported. Lennon returned to Liverpool in mid-December, while Sutcliffe remained in Hamburg with his new German fiancée, Astrid Kirchherr, for another month. Kirch-herr took the first professional photos of the group and cut Sutcliffe’s hair in the German “exi” (existentialist) style of the time, a look later adopted by the other Beatles.
During the next two years, the group were resident for further periods in Hamburg. They used Preludin both recreationally and to maintain their energy through all-night performances. Sutcliffe decided to leave the band in early 1961 and resume his art studies in Germany, so McCartney took up bass. German producer Bert Kaempfert contracted what was now a four-piece to act as Tony Sheridan’s backing band on a series of recordings. Credited to “Tony Sheridan and The Beat Brothers”, the single “My Bonnie”, record-ed in June and released four months later, reached number 32 in the Musikmarkt chart. The Beatles were also becom-ing more popular back home in Liverpool. During one of the band’s frequent appearances there at The Cavern Club, they encountered Brian Epstein, a local record store owner and music columnist. When the band appointed Epstein manager in January 1962, Kaemp-fert agreed to release them from the Ger-man record contract. After Decca Records rejected the band with the comment “Gui-tar groups are on the way out, Mr. Epstein”, producer George Martin signed the group to EMI’s Parlophone label. News of a tragedy greeted them on their return to Hamburg in April. Meeting them at the airport, a stricken Kirchherr told them of Sutcliffe’s death from a brain haemorrhage.
The band had its first recording session under Martin’s direction at Abbey Road Stu-dios in London in June 1962. Martin com-plained to Epstein about Best’s drumming and suggested the band use a session drum-mer in the studio. Instead, Best was replaced by Ringo Starr. Starr, who left Rory Storm and the Hurricanes to join The Beatles, had al-ready performed with them occasionally when Best was ill. Martin still hired session drum-
mer Andy White for one session, and White played on “Love Me Do” and “P.S. I Love You”. Released in October, “Love Me Do” was a top twenty UK hit, peaking at number seventeen on the chart. After a November stu-dio session that yielded what would be their second single, “Please Please Me”, they made their TV debut with a live performance on the regional news programme People and Places.
The band concluded their last Hamburg stint in December 1962. By now it had be-come the pattern that all four members con-tributed vocals, although Starr’s restricted range meant he sang lead only rarely. Lennon and McCartney had established a songwrit-ing partnership; as the band’s success grew, their celebrated collaboration limited Harri-son’s opportunities as lead vocalist. Epstein, sensing The Beatles’ commercial potential, encouraged the group to adopt a professional
attitude to performing. Lennon recalled the manager saying, “Look, if you really want to get in these bigger places, you’re going to have to change—stop eating on stage, stop swearing, stop smoking.” Lennon said, “We used to dress how we liked, on and off stage. He’d tell us that jeans were not particularly smart and could we possibly manage to wear proper trousers, but he didn’t want us sud-denly looking square. He’d let us have our own sense of individuality, it was a choice of making it or still eating chicken on stage.
In the wake of the moderate success of “Love Me Do”, “Please Please Me” met with a more emphatic recep-tion, reaching number two in the UK singles chart after its January 1963
release. Martin originally intended to record the band’s debut LP live at The Cavern Club. Finding it had “the acoustic ambience of an oil tank”, he elected to create a “live” album in one session at Abbey Road Studios. Ten songs were recorded for Please Please Me, ac-
companied on the album by the four tracks already released on the two singles. Recalling how the band “rushed to deliver a debut al-bum, bashing out Please Please Me in a day”, an Allmusic reviewer comments, “Decades after its release, the album still sounds fresh, precisely because of its intense origins.” Len-non said little thought went into composition at the time; he and McCartney were “just writing songs à la Everly Brothers, à la Buddy Holly, pop songs with no more thought of them than that—to create a sound. And the words were almost irrelevant.”
Released in March 1963, the album reached number one on the British chart. This began a run during which eleven of The Beatles’ twelve studio albums released in the United Kingdom through 1970 hit number one. The band’s third single, “From Me to You”, came out in April and was also a chart-
topping hit. It began an almost unbroken run of seventeen British number one singles for the band, including all but one of those released over the next six years. On its release in Au-gust, the band’s fourth single, “She Loves You”, achieved the fastest sales of any record in the UK up to that time, sell-ing three-quarters of a million copies in under four weeks. It became their first single to sell a million copies, and remained the biggest-selling record in the UK until 1978 when it was topped by “Mull of Kintyre”, performed by McCartney and his post-Beatles band Wings.
The popularity of the Beatles’ music brought with it increasing press attention. They re-sponded with a cheeky, irreverent attitude that defied what was expected of pop musi-cians and inspired even more interest.
The Beatles’ iconic “drop-T” logo, based on an impromptu sketch by instrument re-tailer and designer Ivor Arbiter, also made its debut in 1963. The logo was first used on the front of Starr’s bass drum, which Epstein and Starr purchased from Arbiter’s London shop. The band toured the UK three times in the first half of the year: a four-week tour that began in February preceded three-week tours in March and May–June. As their popular-ity spread, a frenzied adulation of the group took hold, dubbed “Beatlemania”. Although not billed as tour leaders, they overshadowed other acts including Tommy Roe, Chris Montez and Roy Orbison, US artists who had established great popularity in the UK. Performances everywhere, both on tour and at many one-off shows across the UK, were greeted with riotous enthusiasm by screaming
fans. Police found it necessary to use high-pressure water hoses to control the crowds, and there were debates in Parliament con-cerning the thousands of police officers put-ting themselves at risk to protect the group. In late October, a five-day tour of Sweden saw the band venture abroad for the first time since the Hamburg chapter. Returning to the UK, they were greeted at Heathrow Airport in heavy rain by thousands of fans in “a scene similar to a shark-feeding frenzy”, at-tended by fifty journalists and photographers and a BBC Television camera crew. The next day, The Beatles began yet another UK tour, scheduled for six weeks. By now, they were indisputably the headliners.
Please Please Me was still topping the album chart. It maintained the position for thirty weeks, only to be displaced by With The Beatles which itself held the top spot for twenty-one weeks. Making much greater use of studio production techniques than its “live” predecessor, the album was recorded between July and October. With The Beatles is described by Allmusic as “a sequel of the highest order—one that bet-ters the original by developing its own tone and adding depth.” In a reversal of what had until then been standard practice, the album was released in late November ahead of the impending single “I Want to Hold Your Hand”, with the song excluded in order to maximize the single’s sales. With The Beatles caught the attention of Times music critic William Mann, who went as far as to sug-gest that Lennon and McCartney were “the outstanding English composers of 1963”. The newspaper published a series of articles in which Mann offered detailed analyses of The Beatles’ music, lending it respectability. With The Beatles became the second album in UK chart history to sell a million copies, a figure previously reached only by the 1958 South Pacific soundtrack.
Beatles releases in the United States were initially delayed for nearly a year when Capitol Records, EMI’s American sub-sidiary, declined to issue either
“Please Please Me” or “From Me to You”.Negotiations with independent US labels led to the release of some singles, but issues with royalties and derision of The Beatles’ “mop-top” hairstyle posed further obstacles. Once Capitol did start to issue the material, rather than releasing the LPs in their original con-figuration, they compiled distinct US albums from an assortment of the band’s record-ings, and issued songs of their own choice as singles. American chart success came sud-denly after a news broadcast about British Beatlemania triggered great demand, leading
Capitol to rush-release “I Want to Hold Your Hand” in December 1963. The band’s US debut was already scheduled to take place a few weeks later.
When The Beatles left the United King-dom on 7 February 1964, an estimated four thousand fans gathered at Heathrow, wav-ing and screaming as the aircraft took off. “I Want to Hold Your Hand” had sold 2.6 mil-lion copies in the US over the previous two weeks, but the group were still nervous about how they would be received. At New York’s John F. Kennedy Airport they were greeted by another vociferous crowd, estimated at about three thousand people. They gave their first live US television performance two days later on The Ed Sullivan Show, watched by approximately 74 million viewers—over 40 percent of the American population. The next morning one newspaper wrote that The Beat-les “could not carry a tune across the Atlantic”, but a day later their first US concert saw Beat-lemania erupt at Washington Coliseum. Back in New York the following day, they met with another strong reception at Carnegie Hall. The band appeared on the weekly Ed Sulli-van Show a second time, before returning to the UK on 22 February. During the week of 4 April, The Beatles held twelve positions on the Billboard Hot 100 singles chart, including the top five. That same week, a third American LP joined the two already in circulation; all three reached the first or second spot on the US album chart. The band’s popularity gener-ated unprecedented interest in British music, and a number of other UK acts subsequently made their own American debuts, success-fully touring over the next three years in what was termed the British Invasion. The Beatles’ hairstyle, unusually long for the era and still mocked by many adults, was widely adopted and became an emblem of the burgeoning youth culture.
The Beatles toured internationally in June. Staging thirty-two concerts over nineteen days in Denmark, Hong Kong, Australia and New Zealand, they were ardently received at every venue. Starr was ill for the first half of the tour, and Jimmy Nicol sat in on drums. In August they returned to the US, with a thirty-concert tour of twenty-three cities.Generating intense interest once again, the month-long tour attracted between ten and twenty thousand fans to each thirty-minute performance in cities from San Francisco to New York. However, their music could hardly be heard. On-stage amplification at the time was modest compared to modern-day equipment, and the band’s small Vox amplifiers struggled to compete with the vol-ume of sound generated by screaming fans. Forced to accept that neither they nor their audiences could hear the details of their per-formance, the band grew increasingly bored with the routine of concert touring.
At the end of the August tour they were introduced to Bob Dylan in New York at the instigation of journalist Al Aronowitz. Visit-ing the band in their hotel suite, Dylan in-troduced them to cannabis. Music historian Jonathan Gould points out the musical and cultural significance of this meeting, before which the musicians’ respective fanbases were “perceived as inhabiting two separate subcultural worlds”: Dylan’s core audience of “college kids with artistic or intellectual leanings, a dawning political and social ideal-ism, and a mildly bohemian style” contrasted with The Beatles’ core audience of “veritable ‘teenyboppers’—kids in high school or grade school whose lives were totally wrapped up in the commercialized popular culture of televi-sion, radio, pop records, fan magazines, and teen fashion. They were seen as idolaters, not idealists.” Within six months of the meet-ing, “Lennon would be making records on
The Early Days
The Beatles
Aged sixteen, singer and guitarist
John Lennon formed the skif-
fle group The Quarrymen with
some Liverpool schoolfriends
in March 1957. Fifteen-year-
old Paul McCartney joined as a guitarist
after he and Lennon met that July. When
McCartney in turn invited George Harrison
to watch the group the following February,
the fourteen-year-old joined as lead guitarist.
By 1960 Lennon’s schoolfriends had left the
group, he had begun studies at the Liverpool
College of Art and the three guitarists were
playing rock and roll whenever they could
get a drummer. Joining on bass in Janu-
ary, Lennon’s fellow student Stuart Sutcliffe
suggested changing the band name to “The
Beetles” as a tribute to Buddy Holly and The
Crickets, and they became “The Beatals” for
the first few months of the year. After try-
ing other names including “Johnny and the
Moondogs”, “Long John and The Beetles”
and “The Silver Beatles”, the band finally
became “The Beatles” in August. The lack
of a permanent drummer posed a problem
when the group’s unofficial manager, Allan
Williams, arranged a resident band book-
ing for them in Hamburg, Germany. Before
the end of August they auditioned and hired
drummer Pete Best, and the five-piece band
left for Hamburg four days later, contracted to
fairground showman Bruno Koschmider for a
48-night residency. “Hamburg in those days
did not have rock’n’roll music clubs. It had
strip clubs”, says biographer Philip Norman.
“Bruno had the idea of bringing in rock
groups to play in various clubs. They had this
formula. It was a huge nonstop show, hour
after hour, with a lot of people lurching in
and the other lot lurching out. And the bands
would play all the time to catch the passing
traffic. In an American red-light district, they
would call it nonstop striptease.
“Many of the bands that played in Ham-
burg were from Liverpool—it was an ac-
cident. Bruno went to London to look for
bands. But he happened to meet a Liverpool
entrepreneur in Soho, who was down in
London by pure chance, and he arranged to
send some bands over.”
Harrison, only seventeen in August 1960,
obtained permission to stay in Hamburg by
lying to the German authorities about his
ge. Initially placing The Beatles at the In-
dra Club, Koschmider moved them to the
Kaiserkeller in October after the Indra was
The story of how a small Liverpool skiffle
band became an international rock icon
16 • Print, April 14, 2010
ddesign conference at the Royal College of Art. The conference brought more than 600 members of the design community together to listen to speeches by radical, forward thinking typographers and graphic designers. “The conference also featured a computer workshop which was broadcast live on the internet and linked up with concurrent workshops in Japan, Europe, and the United States.”
From there, Brody continued to grow his ideas and in 1994 together with business partner Fwa Richards, he launched his own design practice, Research Studios, in London. He also published his second book, The Graphic Language of Neville Brody, volume 2. Since then studios have been opened in San Francisco, Paris, Berlin and New York. The firm’s projects have known no bounds and cater to a wide range of international clients. His accomplishments include: corporate identities for Homechoice, BBC, Mercedes, and Deutsche Bank, a set of postage stamps for the Nederland PTT, a signage system for the National Gallery of Germany, a set of posters for the Hayward Gallery’s exhibition of Magnum photographers and a special design for the United Nations UK UN50 campaign. The studio has completed work on four movies: Hackers, Judge Dredd, Maceo, and Mission Impossible, and has done packaging design for Kenzo, Sony, and Pepsi.
rody was asked to redesign of the The Times in November 2006 with the creation of a new font, Times Modern. It was the first new font at the newspaper since it introduced Times New Roman in 1932. More recently, “Brody’s team launched a new look for the champagne brand Dom Pérignon in February 2007.” This January, he was announced to be the new Head of the Communication Art & Design department at the Royal College of Art commencing in January 2011. The extent of Brody’s influence only seems to get larger.
It’s clear that Brody’s work has not only been globally influential in an artistic way. He has changed the way that the graphic design community interacts with the world. He has changed the way that designers are perceived and even the way that designers perceive themselves. He started with little more than strong ambition and a unique, self-actualized sense of design. Hard work and never ending enthusiasm paid off and Neville Brody will remain written in the history books; an innovator, who knew no bounds and took the world by storm with his keen sense of design and style. So the next time you ask yourself, “where did that idea come from?” when your looking at a magazine or an advertisement, you can probably guess that Neville Brody had something to do with it.
But the Mac is more like a saxophone. You don’t learn to use it, you begin to play it. You learn a whole technology so that you can improvise.” With his new design tool, Brody’s studio could create its ideas and concepts in a whole new way.
His previous achievements, along with his studio’s endless sense of new and fresh style brought loads of work through his doors. However, Brody took to traveling for work in Paris, Miami, and Tokyo, just to name a few, building his international acclaim. Wherever he went he would be interviewed and photographed, fueling what he called “the dialogue of design.” He wanted to bring the image of the Graphics profession to a new level, and did, by showing the world that even a graphic artist could be a pop-star.
In 1990, Brody and Stuart Jensen founded a company dedicated to supporting the new market of digital typefaces called Fontworks. The company, which is still a leading designer’s resource, is an online marketplace where designers can buy and share the latest typefaces with one another. The project also inspired an innovative project called ‘Fuse,’ an experimental typography magazine which contains five new and unique typefaces in every issue. The idea was so successful that it won several awards and sparked the Fuse94
yB
“If you have an idea, you make it happen.”
Print, April 14, 2010 • 17
Print, April 14, 2010 • 15
t was 1988 when three things “cemented” Neville Brody’s status as a “graphic guru.” First, “his work was hailed in a lavish book, The Graphic Language of Neville Brody. The book was then launched with an exhibition by London’s Victoria & Albert Museum” which attracted over 40,000 visitors before touring Europe and Japan – “one of the institution’s largest-ever bows to youth culture. Plus, Neville Brody Studios bought its first computer.” His book solidified his style as a benchmark in the history of design, and the computer became a new way for Brody to evolve and expand his ideas once again.
While his book climbed best-seller lists all around the world, his design team became obsessed with computer games. Even though he had done work for many magazines, everything up to this point had been drawn by hand. The computer was a new tool, but it was so different that it took some time for the team to get comfortable with it. “I approached the Apple Mac with an attack mentally! I thought computers were just too digital, too mechanical” he said, so they played games. Brody claims one in particular, Crystal Qwest, cured him of “technophobia.” Once he became comfortable with his new tool his whole outlook changed: “People think of computers as if they were replicate brains.
B oy 1980, he had already designed over a dozen album
covers, including works for Cabaret Voltaire and Depeche Mode; he was ready for a new challenge. He became the art director for The Face magazine, and shortly after its launch his work started gaining public recognition. By then, the focus of his work had shifted from image creation to a typographical frame of mind. He had started using type as a graphical element that could be as bold and big as the word’s meaning. This experimentation quickly adopted him wide acclaim and became so hugely influential that one can still see the ripples of its effects in today’s most innovative designs.
Brody’s style continued to progress and he left The Face to become art director of a new men’s magazine called Arena. He continued to gain recognition and more and more clients came to him for a taste of his style. New Socialist, City Limits, Tatler, and three European titles: Lei, Per Lui, and Actuel, all commissioned Brody’s talent. His design was infectious, and his daring ideas literally captured the attention of people from all around the world. With his success and his now extensive portfolio, Brody took the next step in his career by taking his ideas and concepts to paper once again.r rom time to time we ask ourselves the
questions: Who made that? Where did they come up with that design? How did someone think of that idea? Well, when it comes to design and typography, if you’ve asked that question in the last thirty years, the answer is sure to include Neville Brody. This British, “pop-star typographer,” has done everything from designing album art to designing corporate identities. He is a father of the digital age of typography, and continues to be a leading role model in the world of type and design.
Born in London in 1957, Brody was a baby boomer, a child on the cusp of a revolution, full of angst and a desire for freedom. In the 1970’s, with the cultural influences of the times he was inspired and motivated by punk rock. He studied at the London College of Printing and the Hornsey College of Art and learned his craft traditionally, yet he was a rebel. In one instance he was almost thrown out of school for putting the Queen’s head sideways on a postage stamp design.
It was only one year after he finished school that he started his own company, Neville Brody Studios. He was an enthusiastic go-getter with a fine eye for the bold and different. “If you have an idea,” he liked to say, “you make it happen.” He went to work right away designing album art for Fetish and Crammed; two independent record companies that helped him build his reputation as a hipster. This is also where Brody developed “his unique design philosophy that design should be a dialogue used to reveal, rather than conceal.”
neville“...the Mac is more like a saxophone. You don’t learn to use it, you begin to play it.”
f
B
i
By Chris Clavio
CNM ProjectArticle - 8½” x 11” Book - 2010
CNM ProjectArticle - 8½” x 11” Book - 2010
12 13
Websites
Technicolour FabriqueDreamweaver - HTML & CSS - 2011
All Seasons GardeningDreamweaver - HTML & CSS - 2010
Clavion UnlimitedDreamweaver - HTML & CSS - 2011
Allay of New MexicoDreamweaver - HTML & CSS - 2009
15
Special Projects
Bean Mountain CoffeeVehicle Wrap - 2008
Easter Card - 2011
New Mexico PrideFace Cards - 2011
“Weight and Gravity”Digital Print - 2008
Made for You,By Me
Q
Q
K
K
A
A
17
T-Shirts
“Love”One color - 2007
“Come Together”One color - 2008
UNM Marching Band SectionFour color - 2008
Front
Back
Photoshop
CNM ProjectPostcard - 4” x 6” - 2009
CNM Project“My favorite room” - 2009
Clavion Unlimited ©2011
