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His posters could be controversial: a 1941 recruitment poster for the ATS was debated in parliament and later withdrawn for looking like "A beauty product advertisement."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...
• • •
Missing some Tweet in this thread? You can try to
force a refresh
It was the biggest manhunt in Britain: police, the press, aeroplanes, psychics all tried to solve the disappearance. In the end nobody really knew what happened. It was a mystery without a solution.
This is the story of Agatha Christie's 11 lost days...
By 1926 Agatha Christie's reputation as a writer was starting to grow. Her sixth novel - The Murder of Roger Ackroyd - had been well-received and she and her husband Archie had recently concluded a world tour. But all was not well with the marriage.
In April 1926 Agatha Christie’s mother died. Christie was very close to her: she had been home-schooled and believed her mother was clairvoyant. The shock of her sudden death hit the author hard.
Many readers have asked me over the years what my definition of pulp is. I've thought about it a lot, and the definition I keep coming back to... well it may surprise you.
Let me try and set it out.
There are lots of definitions of pulp out there: in books, in academic papers and on the web. And most circle back to the same three points: the medium, the story type and the method of writing.
Pulp is of course a type of cheap, coarse paper stock. Its use in magazine production from the 1890s onwards led to it becoming a shorthand term for the kind of fiction found in low cost story magazines.
let's take a look at the extraordinary work of Victorian illustrator and cat lover Louis Wain!
Louis Wain was born in London in 1860. Although he is best known for his drawings of cats he started out as a Victorian press illustrator. His work is highly collectable.
Wain had a very difficult life; born with a cleft lip he was not allowed to attend school. His freelance drawing work supported his mother and sisters after his father died. Aged 23 he married his sisters' governess, Emily Richardson, 10 years his senior.
Over the years a number of people have asked me if I have a favourite pulp film. Well I do. It's this one.
This is the story of Alphaville...
Alphaville: une étrange aventure de Lemmy Caution (1965) was Jean-Luc Godard’s ninth feature film. A heady mix of spy noir, science fiction and the Nouvelle Vague at its heart is a poetic conflict between a hard-boiled secret agent and a supercomputer’s brave new world.
British writer Peter Cheyney had created the fictitious American investigator Lemmy Caution in 1936. As well as appearing in 10 novels Caution featured in over a dozen post-war French films, mostly played by singer Eddie Constantine whom Godard was keen to work with.
Al Hartley may have been famous for his work on Archie Comics, but in the 1970s he was drawn to a very different scene: God.
Today in pulp I look back at Hartley's work for Spire Christian Comics - a publisher that set out to spread the groovy gospel...
Spire Christian Comics was an offshoot of Spire Books, a mass-market religious paperback line launched in 1963 by the Fleming H. Revell company. The point of Spire Books was to get religious novels into secular stores, so a move into comic books in 1972 seemed a logical choice.
The idea was to create comic book versions of popular Spire Books like The Cross and the Switchblade; David Wilkinson's autobiographical tale of being a pastor in 1960s New York. It had already been turned into a film, but who could make it into a comic?