Robert Brownjohn
For an exercise for Critical Studies we have been asked to research an artist and their influences, I chose to look at Robert Brownjohn, not only has he done some fantastic Graphical work that incorporates whit, humor and intelligence but also because his talents stretch over several different mediums, most noticeably for his title sequence for Goldfinger and From Russia with Love. Delving into his past, it is clear his main influences came from Laszlo Moholy-Nagy his tutor at the Institute of Design in Chicago, people directly link Brownjohn and those title sequences with similar pieces of work made by Moholy-Nagy in the 1920's. Robert Brownjohn was also a lover of music, in particular jazz, and also drugs. He was part of an outstanding design group called BCG, compiled of himself, Ivan Chermayeff and Tom Geismar in New York in the 50's and returned back to London during the 60's working for McCann Erickson, on the Bond title sequences and later with the Rolling Stones on the album Let it Bleed.
For an exercise for Critical Studies we have been asked to research an artist and their influences, I chose to look at Robert Brownjohn, not only has he done some fantastic Graphical work that incorporates whit, humor and intelligence but also because his talents stretch over several different mediums, most noticeably for his title sequence for Goldfinger and From Russia with Love. Delving into his past, it is clear his main influences came from Laszlo Moholy-Nagy his tutor at the Institute of Design in Chicago, people directly link Brownjohn and those title sequences with similar pieces of work made by Moholy-Nagy in the 1920's. Robert Brownjohn was also a lover of music, in particular jazz, and also drugs. He was part of an outstanding design group called BCG, compiled of himself, Ivan Chermayeff and Tom Geismar in New York in the 50's and returned back to London during the 60's working for McCann Erickson, on the Bond title sequences and later with the Rolling Stones on the album Let it Bleed.
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