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January/February 2003 Eight Dollars www.commarts.com

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JANUARY /

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2003

The Clayton Brothers left: Poster for the third annual Film on the Rocks festival, 2000.

Christian Clayton, illustrator; Steve Whittier, art director; Factory labs, ad agency; Red Rocks Amphitheater, client.

This page: Illustration for an article, "Music Goes Global, Africa," in Time magazine. Christian Clayton, illustrator; Janet Michoud, art director! designer. 8 X 13.

What the Billy Goat Saw, Clayton Brothers commission for Jim Hawkenson, private collection. 6 X 4 feet.

COM M U N I CAT ION

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PIONEERS

Alexey Brodovitch is contribution to contemporary magazine design while art director of Harper's Bazaar would be sufficient enough to honor Alexey Brodovitch as a pioneer in graphic design, but his influence was much greater. He was one of the first to introduce European modernism of the 1920S to the United States both by his own work and by commissioning art and photography from leading European artists and photographers including A.M. Cassandre, Salvador Dali, Henri Cartier-Bresson and Man Ray. Through his lifelong dedication to teaching, he created a generation of designers who shared his belief in visual vitality and immediacy. Fascinated with photography, he fostered an expressionistic approach that became the dominant photographic style of the 1950S.

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Born in Russia in 1898, Brodovitch fled the Bolsheviks in 1920 with his family and future wife and settled in Paris.

Brodovitch's design career flourished in 1924 after his poster design for Le Bal Banal, a benefit dance for poor artists, was selected over many other artists including Pablo Picasso. Soon he was in great demand, designing fabric, jewelry, restaurant decor, posters and department store advertisements.

Invited to the United States in 1930 to start an advertising art department at the Philadelphia Museum School of Industrial Art, Brodovitch began his teaching career while completing numerous freelance assignments. In 1934, Carmel Snow, the new editor of Harper's Bazaar, saw his design work and immediately hired him to be its art director. It was the beginning of a 24-year tenure that would revolutionize both fashion and magazine design.

By the 1950S, Brodovitch had perfected his style of combining text and photography with copious amounts of white space. Despite his easily recognizable work, Brodovitch did not formulate a theory of design. "There is no recipe for good layout, " he said. "What must be maintained is a feeling of change and contrast. A layout man should be simple with good photographs. He should perform acrobatics when the pictures are bad. " Henry Wolf, Brodovitch's successor at Harper 's Bazaar, commented on his unique approach to magazine layout.

"Oh, of course he was a good designer and superb typographer and had an innate sense of elegance about space," 1 02

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119

Fiona Hewitt

Location: I live and work in a leafy village in London, U.K.

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Duration: I have been illustrating for about eight years . I got the illustration bug while living in Hong Kong and it has possessed me ever since.

Staff: Only me and my Mac. Education: Fine Art Painting Degree at Edinburgh University in 1990, Masters in Communications at Royal College of Art, London in 2000 .

Cultural Influences: The experience of living in Asia for th ree years shaped my aesthetic; I would often wander around the backstreet shops in Hong Kong and China seeking out strange local products . Upon returning to Britain, I have turned more to Europe, especially Eastern European 1930's, '40's, '50's and '60 's labels, stamps and packaging .

Environment: I work from the top floor of a large old house on a London street with views across the ever-changing British clouds and the ordered Victorian rooftops . I live with a cat called Mary, a boyfriend cal led Andy and a baby daughter called Ruby.

Philosophy: I am happiest when building a narrative-based environment; a world where all of my little characters and disparate elements can come together and my imagination can run free . If narrative is the grease that oils my machine, then drawing is definitely the nuts and bolts so to speak. I get so much pleasure from applying pencil to paper. The satisfaction of drawing a perfect little face and then being able to translate this character into my computer work is something that tickles me every time .

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