It’s a great honor to announce Neville Brody as keynote speaker in the SND conference in London on 3rd November 2017
Neville Brody is one of the most influential graphic designers of the late 20th century and founder of brody associates
Neville Brody is synonymous with ‘visual language’. A seminal creative director, designer, typographer and brand strategist, he is acclaimed globally for a body of work that spans four decades. Brody is renowned for pushing design boundaries and deploying innovation in all that he does. This spirit of exploration and pursuit of excellence informs the approach of Brody Associates, the creative agency he founded in 2014 and which specialises in digital, typography and identity.
Brody’s prolific contribution to design has been acknowledged by many industry bodies and organisations, including his investiture in 2011 as a Royal Designer for Industry (RDI), the UK’s highest design accolade, and a Special Commendation in the Prince Philip Designer’s Prize in 2010. Brody’s typeface, Blur, designed in 1991, forms part of the permanent design collection at the Museum of Modern Art in New York. Other galleries, museums and libraries around the world hold Brody’s work, including the V&A (UK), Cooper Hewitt (USA), and Design Museum (UK).
Brody is equally passionate about creative education and is currently the Dean of the School of Communication at the Royal College of Art (UK). He used his term as President of Design & Art Direction (D&AD UK) from 2012-13 to raise global awareness of the future challenges facing creative education and championed the need for industry support and change. Brody chose to give the opportunity of designing his D&AD Annual and D&AD Ceremony identity to a recent graphic design graduate and young creative agency respectively; moving away from the tradition of commissioning established designers.
Brody actively challenges perceptions of creativity through his work, but also through the propagation of new ideas and ventures. In 1991, his passion for creative possibilities in typography led to FUSE, a publication sharing and celebrating radical and experimental typography. He set up FUSE with Jon Wozencroft, who also collaborated on The Graphic Language of Neville Brody 1 and 2, published in 1989 and 1994 respectively. To celebrate the 20th edition of FUSE, in 2012, publisher Taschen released a compendium of issues 1-20. Brody created the Anti-Design Festival (ADF), staged in London’s Shoreditch in 2011 to explore new ideas and media across design disciplines. Set up to challenge the contemporary designscape where risk-taking was taboo and experimentation often seen as failure, the ADF show neatly summed up Brody’s approach. For him the thinking and the process behind any design are as engaging and important as the outcome.
Brody has always been a hands-on creative director and designer. Following his graduation from the London College of Printing (now London College of Communication) in the late 1970s, he came to prominence early in his career by creating now iconic album sleeve designs for punk bands at Rocking Russian and Stiff Records. His work as art director at magazines such as The Face and Arena in the 1980s won him international fame. Though his more recent portfolio includes iconic work for British brands and organizations in the arts and media including BBC, The Times, Somerset House, Royal College of Art, TATE and Channel 4 much of his work has been outside the UK. Brody and his team at Brody Associates currently work with global blue chip companies like Samsung, Yamaha, LVMH, GAP, Uniqlo, The Coca-Cola Company, Nike and NIKON. Brody continues to lecture internationally and act as a spokesman for the creative industry, in support of design education and to promote future opportunities for the next generation of designers.
Photo by Adam J. Schokora
People are using the computer in a very rigid, pseudo-religious way and we are trying to say that the technology is simply a tool of communication and should be treated as organically as any other tool.’
Neville Interview “Eye Magazine”
Design is more than just a few tricks to the eye. It’s a few tricks to the brain.
People think that digital language is a fixed language, but it’s not: it’s very fluid. It’s like I’m doing a painting where the paint refuses to dry.
Typography is a hidden tool of manipulation within society.
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