NevilleNeville Brody is arguably considered to be one of the greatest graphic designersBrody of his time. Brody was born on April 23, 1957 in Southgate, London. He’s not only known for his distinct graphic design style mixing typography with visuals in an architectural way but also for being an art director and typographer. Growing up he’s always been intrigued by fine art. In 1976, Brody enrolled at the Lon- don College of Printing to pursue a B.A. in graphics. The young Brody enjoyed expressing himself freely through his art he was criticized often by his tutors by viewing his art “Uncommerical” and almost being expelled from school because he designed a postage stamp having the Queen’s head sideways. Brody’s inspi- ration came from a number of historic movements such DADAISM and POP ART. Since punk rock was becoming the new hot movement in London during the late 70’s early 80’s this had a huge impact on Brody’s style and designs. The punk rock scene definitely motivated Brody in his work, which in fact it caught the eye of music record companies Fetish and Stiff Records. In his designs for Fetish Records he designed record covers for independent musicians that were under the company. He gave off this grunge, post-punk type of vibe, which in fact I’m a fan of since I listen to bands like The Cure, Radiohead, and Depeche Mode. I can also relate to his work since he created these dark visuals mixing different mediums such as photography, typography, and 3D cut out objects that were scanned on to the record cover designs. I love the fact that he scanned 3D objects and incorporated this to his designs because I also do the same in my workf do to my childhood upbringing since my mother was into arts and craft. Due to the development of the Internet and computer I believe that this type of design shouldn’t fade as well producing print because this indeed can work as other effective visual means for any design project. Brody art directed various album covers for The Bongos in “The Zebra Club”, Cabaret Voltaire in “Micro-Phonies”, and Depeche Mode in “Just Can’t Get Enough” just to name a few. Brody was not only known for his involvementa in the punk rock scene but also in the print world becoming art director for FACE and ARENA Magazine during the eighties. He ran the risk of changing the way people viewed a magazine by changing the scale and design of how a traditional magazine and newspaper was suppose to look since he believed that people read magazines in a different man- ner. By pushing the boundaries on the magazines he worked on, this allowed to shine light on his work to the world. In 1988, British publishing company Thames and Hudson published two volumes of Brody’s work which later became the world’s best selling graphic design book. Brody’s love for typography led him and Erik Spiekermann to become founders of the FontFont typeface family. After the recognition he gained for designing several magazines and newspapers; in 1991, Brody and Jon Wozencroft created the FUSE project, which was a publication that revolutionized typography and visual design to a new level. After the creation of Research Studios in 1994, which was a design studio and cadvertising agency him and his business partner Fwa Richards started; they have been involved in branding, inventing innovative packaging, website designing for clients such as Homechoice, Kenzo, and Paramount Studios just to name a few. Neville Brody is a true inspiration as a graphic artist due to the fact that he pretty much stood in his own lane and added different artistic mediums to send out a visual message powerful enough to leave the receiver questioning with his open-ended statements. I can relate to Brody in many ways since a lot of his involvements with brands and styles are things that I’m into. DAVID MENENDEZe.