Vaughan Oliver

From Wikipedia, the free encyclopedia

Vaughan Oliver (born 1957) is a British graphic designer based in Epsom, South of London. Oliver is most noted for his work with graphic design studios 23 Envelope and v23.[citation needed] Both studios maintained a close relationship with record label 4AD between 1982 and 1998 and were to give distinct visual identities for the 4AD releases by many bands, including Bush, Cocteau Twins, Dead Can Dance, The Breeders, This Mortal Coil, Pale Saints, Lush, Pixies, and Throwing Muses.

History

23 Envelope consisted of Vaughan Oliver (graphic design and typography) and Nigel Grierson (photography). Together, they created the artwork for almost all 4AD releases until 1987. Nigel Grierson left 23 Envelope in 1988. At that time, Vaughan Oliver continued to work for 4AD under the studio name v23, collaborating with Chris Bigg, Paul McMenamin, Kees Hubers, Timothy O'Donnell, Tim Vary, Adrian Philpott, Simon Larbalestier, Marc Atkins and others. Most admired for his collaborative energy and imagination, Oliver had thus set the stage for the graphic revolution of the 1980s and 1990s.[citation needed] His impact on the post-punk music industry is still celebrated, as is his influence on a generation of designers exploring the possibilities of type and print.[citation needed]

In 1994, many of those that had collaborated with Vaughan Oliver over the previous decade contributed to an illustrated catalogue for the retrospective exhibition of his work held at the Pacific Design Center in Los Angeles, This Rimy River.[1] Recollections of the v23 design experience were provided by individuals such as v23 collaborator Chris Bigg, design writer Rick Poynor,[2] and art critic Ian McKay who frames Oliver's work in a fine art context.[3] Like so many publications produced by v23, the catalogue[1] quickly became a collectors item.[citation needed]

External links

References

  1. ↑ 1.0 1.1 Vulva O'Reighan (ed.), This Rimy River: Vaughan Oliver and Graphic Works 1988-94, Pacific Design Centre, 1994.
  2. ↑ Rick Poynor, Exhibition/Exposition, CRDC, Nantes, 1990/1991; The Graphic Edge, Booth-Clibborn Editions, London, 1993; Design Without Boundaries: Visual Communication in Transition, Booth-Clibborn Editions, London, 1998; Vaughan Oliver: Visceral Pleasures, Booth-Clibborn Editions, London, 2000.
  3. ↑ Ian McKay, Oliver’s D-Day, XYZ Design & Technology, May, 1990; Un Dandy de la Pochette, Artline International, Summer, 1990.
Authority control
This article is issued from Wikipedia. The text is available under the Creative Commons Attribution/Share Alike; additional terms may apply for the media files.