To start the new academic year off with a shot of inspiration, we took all Graphic Design and Graphic Illustration students at UCS to GRAPHICS, the Romek Marber exhibition at The Minories in Colchester.
Marber’s influence on British Graphic Design can not be underestimated. His most famous work was for Penguin Books, particularly their crime series, producing many of the iconic green covers utilising photography, collage and drawn imagery to full effect to capture the title of each book he designed for. He also famously designed one of the grid systems that Penguin used for many years.
Among the covers on display was also his rationale behind the layout. As the exhibition literature states: “Romek Marber’s work often communicates in a clear and direct manner that is bought by combining a stripped down use of colour with well defined formal structures within which text and image are framed. A sense of pragmatism and design that grows out of necessity in terms of delivery of message results in an efficient visual imagery that wastes nothing but at the same time appears to leave nothing out.”.
Some of Marber’s typographic work balances a tightrope between experimentation and reductive modernist austerity, clearly influencing many designers working today. In fact, the covers he did for The Economist only look dated because of the mastheads—Marber’s type explorations themselves could grace many contemporary magazines and certainly wouldn’t look out of place on Bloomberg Business Week.
GRAPHICS exhibition is highly recommended, and runs until 25 October: details here. Thanks to Cydney and Kaavous at The Minories.
While in Colchester, and with the Firstsite Gallery a stone’s throw from The Minories, we also took the opportunity to take a look at the Xerography exhibition that is on there. This celebrates the role of photocopying in art, from the 1960s through to the modern day.
The show is mixed enough for something to appeal to everyone, although I doubt that there would be anyone who would like everything that was on show. But despite its breadth, the one obvious omission for me was the lack of graphic design. For an exhibition which is tied together by the process of using a photocopier to produce work, this seems like a massive black hole. For example, there are no punk era fanzines such as Mark P’s Sniffin’ Glue which helped to define the aesthetic of an era. This form of instant publishing also helped to introduce some to a career in graphics, such as Terry Jones. There were also no rough and ready record sleeves, whether by the likes of practicing designer Linder Sterling or by the many unknowns who embraced the Do It Yourself nature of punk in 1976/77.
Omissions aside, this is a worthwhile exhibition to go and see, especially if you can go when the Marber exhibition is still on at The Minories, as the juxtaposition between the two makes for refreshing contrast. Xerography runs until 10 November, details here.
Thanks to Sue Hogan for the student talk.