Friday, 12 May 2017

Romek Marber Research

Romek Marber was a polish designer who created the Marber grid. His most noted work was for this creation alongside illustrating the covers of penguin books. He retired in 1989. Previous to his work with Penguin he was commissioned by the Economist to create covers, in 1961 by Germano Facetti. He was asked to originally create two book covers for the author Simeon Potter; with the chance to extend his contract to develop covers for the entire range of penguin crime books. “To launch the new Crime series I was asked to do twenty titles,” states Marber.

Marber adopted a style of instantly, ‘the Marber grid’ was evolved from his previous works with the economist. Which once seen in context, it can be seen that the grid was practically untouched between this use and its use on the book covers.

Marber's The Economist Covers
Marber analysed what he needed from the layout to be able to create a design that allowed for strong influence of imagery, whilst still retaining the opportunity to keep the covers informative through type. Facetti was so impressed with Marber’s work on the grid system and illustration he adopted the style across the fictional range of Penguin books, and then to blue pelican books; and finally throughout the entire range.  

Wireframe of Marber's Grid
Marber also has an extension of Graphics which includes his lesser known works based around logo creation and brand indemnity. As part of which branding for a fencing company, which a similar style of grid can be seen has been used, as well as a similar type of hue.

Marber's Previous Work
Marber’s style of working to create visual content in order to communicate varies, his rigged structure (stuck to amongst majority of his works), reaffirmed by himself when questioned about his illustrations on the penguin book covers.
 “I was surprised to be asked to speak about my work in illustration. I am not sure whether my work qualifies this description. It has never occurred to me to ask myself ‘am I an illustrator?’ I communicate visually and I search for clarity. I use type, drawing, photography or whatever. The subject matter may influence the tools I use. A picture takes shape as I work. Sometimes, something accidental occurs that intensifies the work and I am thankful.”

This interview shows Marber’s, subliminal, use of experimentation to create series of conceptual imagery. This is an approach we have taken within other modules, such as my object brief in which I carried out 9 different methods of visual experimentation to create a series of unexpected imagery. This is something I would like to continue to explore and develop in my own practice, adapting the method to the need to see what type of outcomes can come together.


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