Today I'm looking back at the work of British graphic designer Abram Games!
Abram Games was born in Whitechapel, London in 1914. His father, Joseph, was a photographer who taught him the art of colouring by airbrush.
Games attended Hackney Downs School before dropping out of Saint Martin’s School of Art after two terms. His design skills were mainly self-taught by working as his father’s assistant.
In 1932 Games began working for the commercial art agency Askew Younge, whilst also building up an impressive portfolio of his own clients which eventually included Shell, London Transport, and the Financial Times.
Games joined the infantry in World War 2 but in 1941 he was moved to the Public Relations Department of the War Office to work on recruitment posters. In 1942 he became an Official War Artist for posters.
Game's motto for poster design was 'maximum meaning using minimum means' through a concise and engaging blend of image, colour and text.
Many of Games' designs are visual puns with multiple layers of meaning. Games believed "A poster with a measure of intrigue engages the mind of the spectator and he looks again."
Games had an intuitive ability to edit images and text in ways that would maximize the impact of their message. His work also showed his interest in the ideas and techniques of surrealism as a way to capture attention.
His posters could be controversial: a 1941 recruitment poster for the ATS was debated in parliament and later withdrawn for looking like "A beauty product advertisement."
In the post-war period Abram Games designed the London 1948 Olympics stamp and the 1951 emblem for the Festival of Britain. He also conceived the first BBC moving ident in 1953.
Abram Games was also invited by Allen Lane in 1956 to select and commission colour illustrations for Penguin Books, as part of an experiment with new design ideas for their fiction range.
Games’ hand painted and airbrushed poster are rightly famous as examples of modernist design in practice. “I wanted to create posters with forceful compact design" he once said, "memorable and direct, with a minimum of lettering and text."
Abram Games believed strongly in creative individuality, and his work truly stands the test of time. There are many books available about his work, so do take time to look at a few if you want to know more.
More posters another time...
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Today in pulp I'm taking a look back at the Regency Romance series from Signet Books!
Signet's Regency Romance series started in the late 1970s and ran until 2006. Like its rivals Harlequin and Mills & Boone, Signet Regency Romance published a number of titles each month, often to the same formula...
Most (but not all) Signet Regency Romance covers were by Allan Kass, and I can heartily recommend Rhonda Whiting's wonderful blog about this artist, featuring hundreds of scans of his work allankass.blogspot.co.uk
What are the pulp archetypes? Pulp novels are usually written quickly and rely on a formula, but do they use different archetypal characters to other fiction?
Let's take a look at a few...
The Outlaw is a classic pulp archetype: from Dick Turpin onwards lawbreakers have been a staple of the genre. Crime never pays, but it's exciting and trangressive!
Some pulp outlaws however are principled...
As Bob Dylan sang "to live outside the law you must be honest." Michel Gourdon's 1915 hero Dr Christopher Syn is a good example. A clergyman turned pirate and smuggler, he starts as a revenger but becomes the moral magistrate of the smuggling gangs of Romney Marsh.
Given the current heatwave, I feel obliged to ask my favourite question: is it time to bring back the leisure suit?
Let's find out...
Now we all know what a man's lounge suit is, but if we're honest it can be a bit... stuffy. Formal. Businesslike. Not what you'd wear 'in da club' as the young folks say.
So for many years tailors have been experimenting with less formal, but still upmarket gents attire. The sort of garb you could wear for both a high level business meeting AND for listening to the Moody Blues in an espresso bar. Something versatile.
Today in pulp I look back at the publishing phenomenon of gamebooks: novels in which YOU are the hero!
A pencil and dice may be required for this thread...
Gamebooks are a simple but addictive concept: you control the narrative. At the end of each section of the story you are offered a choice of outcomes, and based on that you turn to the page indicated to see what happens next.
Gamebook plots are in fact complicated decision tree maps: one or more branches end in success, but many more end in failure! It's down to you to decide which path to tread.