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Design and Art Direction
Books The Art Museum Ingres Géricault Decorative Art 60’s Industrial Design A-Z Open Asia Hitchcock Magazines Sight & Sound Eye Frieze Historic Scotland Advertorial Sight & Sound Variety Ephemera Leaflets and booklets Books The Art Museum Page layout Design and Art Direction
Books The Art Museum Ingres Géricault Decorative Art 60’s Industrial Design A-Z Open Asia Hitchcock Magazines Sight & Sound Eye Frieze Historic Scotland Advertorial Sight & Sound Variety Ephemera Leaflets and booklets Books Ingres Page layout Design and Art Direction
Books The Art Museum Ingres Géricault Decorative Art 60’s Industrial Design A-Z Open Asia Hitchcock Magazines Sight & Sound Eye Frieze Historic Scotland Advertorial Sight & Sound Variety Ephemera Leaflets and booklets Books Géricault Page layout Design and Art Direction
Books The Art Museum Ingres Géricault Decorative Art 60’s Industrial Design A-Z Open Asia Hitchcock Magazines Sight & Sound Eye Frieze Historic Scotland Advertorial Sight & Sound Variety Ephemera Leaflets and booklets Books Decorative Art 60s Design of cover, introduction and break spreads Design and Art Direction
Books The Art Museum Ingres Géricault Decorative Art 60’s Industrial Design A-Z Open Asia Hitchcock Magazines Sight & Sound Eye Frieze Historic Scotland Advertorial Sight & Sound Variety Ephemera Leaflets and booklets Books Industrial Design A-Z Design and Art Direction
Books The Art Museum Ingres Géricault Decorative Art 60’s Industrial Design A-Z Open Asia Hitchcock Magazines Sight & Sound Eye Frieze Historic Scotland Advertorial Sight & Sound Variety Ephemera Leaflets and booklets Books Open Asia Exhibition book of photographs by Kris Dewitte Design and Art Direction
Books The Art Museum Ingres Géricault Decorative Art 60’s Industrial Design A-Z Open Asia Hitchcock Magazines Sight & Sound Eye Frieze Historic Scotland Advertorial Sight & Sound Variety Ephemera Leaflets and booklets Books Hitchcock Book for season of films at the BFI Southbank 39 Steps to the Genius of Hitchcock 4746 Hitchcock always made a key clarification whenever anyone quoted his famous dictum,“Actors are cattle.” What he really said, Hitch claimed, was that actors should be treated like cattle.Well, cattle in most countries are fed and allowed to graze until being led to the abattoir. So are Hitchcock’s actors so many lambs to the slaughter, too? Hitch took a fetishist’s delight in dressing up his blonde leading ladies over the years so that they started to seem like different versions of each other,Anny Ondra blending into the cooler Madeleine Carroll, white-hot Grace Kelly morphing into the existentially confused Kim Novak and then into the more brittle Tippi Hedren.Yet they are distinct, and his handling of them is distinct, even if he sometimes led them into repeating certain tropes from his own past.The last time I saw Vertigo, I noticed that when Novak is playing Madeleine Elster, she often repeats exactly the halting vocal patterns of Joan Fontaine in Rebecca and Suspicion. Hitch himself professed to be slightly bewildered with Novak’s Method approach to her role, where she wanted to think out every moment. It seems clear that Hitchcock was not a fan of actorly autonomy. The green Fontaine gives such a fine performance in Rebecca partly because the other more experienced British actors in the cast (Laurence Olivier among them) dismissed and ignored her off camera as well as on. Hitchcock would knowingly foster a situation like that on his sets if it served the needs of his film, but by the 1950s he had no patience with either Novak’s worries or with the cerebral gymnastics of Montgomery Clift in I Confess, a performance where every single moment has been chewed on in such a self-conscious way that finally all you see is a beautiful actor acting up a storm beneath his mannered guises of underplaying or trying to be lifelike, so that he’s an awfully neurotic- seeming priest, even though he’s supposed to be totally repressed. Clift makes the feelings of this man so evident underneath the repression that there are certain close- ups where they glare like a neon sign; this is not the kind of showy performing that Hitchcock generally favoured. During Hitchcock’s silent period, his actors seem left to their own devices, though he does show an alertness to the strange carnality of Anny Ondra in The Manxman, which spills over into his first talking feature, Blackmail.The surviving sound test for Blackmail shows Hitch’s way with actresses: he mercilessly teases Ondra.“Have you been a bad woman or something?” he asks, as she fidgets happily.“But you’ve slept with men,” he insists, and she flutters and cries,“Oh, no!” in a very coquettish, very worldly fashion (Ondra was Czech, not British).“Stand in your place, otherwise it will not come out right, as the girl said to the soldier,” he jokes, while Ondra puts her hand to her mouth and giggles away from him. Hitchcock could be a put-on comic and a dirty I Confess (1953, opposite) Hitchcock confers with Montgomery Clift. He had little patience for Clift’s Method approach. Blackmail (1929, below) Hitchcock encouraged Anny Ondra’s boldly sexual performance. Step eleven: in the act By Dan callahan 39 Steps to the Genius of Hitchcock 5352 Step twelve: The RighT Women By Camille Paglia The Birds (1963, top) Suzanne Pleshette (left) and Tippi Hedren (right) stand frozen beneath a full moon. To Catch a Thief (1955, above) Grace Kelly, wearing the diamond necklace she invites John Robie (Cary Grant) to touch. Vertigo (1958, opposite) Kim Novak as Madeleine. Psycho (1960, below) Marion Crane (Janet Leigh) in one of her formidably constructed brassieres. With a spate of new movies being made about Alfred Hitchcock, charges about his reputed misogyny will soon be back in the air.There is abundant evidence of Hitchcock’s insistence on total and sometimes autocratic control of his productions as well as of his leading ladies. But misogyny is a hopelessly simplistic and reductive term for the passionately conflicted attitude of major male artists towards women. Art-making is not just a formal exercise but a quest for identity, a strategy of defence against turbulent reality. Hitchcock’s view of women is not politically correct. But his haunting films continue to gain power over time because of the profound depth and searing truth of his emotional world.What he records is the agonised complexity of men’s relationship to women – a roiling mass of admiration, longing, neediness and desperation. Heterosexual men instinctively know that women have magic. Gay men know it and, through high fashion, ingeniously enhance it. Drag queens heartily mimic it. Most heterosexual women keenly observe, monitor and competitively evaluate the magic of other women. Only feminist theorists, evidently, fail to see that magic – or they contemptuously dismiss it as a product of social conditioning and commercial manipulation. Hitchcock’s great films of the 1950s and early 1960s show the tension between men’s fear of emotional dependency and their worship of women’s beauty, which floods the eye and enforces an erotic response over which a man has ethical but not conceptual control. Beautiful women are a fascinating conflation of nature and art.They often have an elusive, dreamy apartness, suggesting a remote inner realm to which a man can claim only momentary access. It is a theme in Botticelli’s Birth ofVenus, Raphael’s Madonnas, and Leonardo’s Mona Lisa. It can be seen in more sexually perverse form in Rossetti’s florid somnambules and the drugged odalisques of Ingres and Manet. Beautiful young men too may have that reserve and distance, as captured from Greek art to Wilde’s The Picture of Dorian Gray. Jean Cocteau saluted Wilde in declaring,“The privileges of beauty are enormous.” Similarly,Tennessee Williams’s Mrs Stone says,“People who are very beautiful make their own laws.” The two poles of Hitchcock’s erotic vision are woman as objet d’art and woman as devouring mother. One pleasures the eye, and the other assaults it. Hitchcock warned Janet Leigh before Psycho,“My camera is absolute.” His camera habitually frames woman as a gorgeous cult object whom he loves to dress and drape.We know from Edith Head that Hitchcock designed Grace Kelly’s clothes for RearWindow; everything was already specified, from colour to fabric, in the script. He chose Kim Novak’s magnificently varied clothing for Vertigo, forcing a now classic grey suit on her that she hated. He took Eva Marie Saint to Bergdorf Goodman’s, sat with her as mannequins 39 Steps to the Genius of Hitchcock 1716 Much of Hitchcock’s early inspiration came from silent filmmakers who barely survived the industry’s conversion to sound at the end of the 1920s. No one now remembers the unsuccessful talkies (two each) made by the great pioneers D.W. Griffith and Victor Sjöström; F.W. Murnau died in 1931 without having made a fully synchronised film.What if Hitchcock’s own career had ended, for whatever reason, before he made Britain’s first talking feature, Blackmail, in 1929? Would he still, like them, have a significant place in film history? Probably not.Would he deserve to?Yes. Compared with men like those, his directing career in silent cinema had been brief: four years and ten films, including the silent version of Blackmail. Nor did any of these films, unlike theirs, make an international impact at the time.Those that reached America were received with condescension or outright scorn. For Variety, his third feature The Lodger was“a trashy commercial film worthless for‘art’ audiences and for the generality of American fans alike”, while his seventh, The Farmer’sWife, was a“meritless” picture whose direction was simply“amateurish”.America was ready to welcome more obviously exotic films from continental Europe, but British films had a continual struggle. Reviewers failed to make any distinction between Hitchcock and his British contemporaries, let alone to recognise that his use of the silent medium in these films was, in its sophistication, at least in the same league as the bright young Hollywood directors of the time such as John Ford, Howard Hawks and King Vidor. Even in America, Hitchcock’s silent output is now becoming more fully known and celebrated than theirs, but several big things had to happen in order to make this possible. In the mid-1930s he began to make an international impact with thrillers like The 39 Steps, and this encouraged, crucially, the preservation of his work by the film-archive movement that was just getting seriously under way. His move to Hollywood in 1939 raised him to a new level of celebrity, and his subsequent films would become central texts in the spectacular expansion of writing and teaching about cinema that took place from the 1960s onward – which in turn created a growing interest in his early work, including the silent films. Finally,VHS and then DVD allowed these films to become more accessible; the strong Hitchcock market supplied an incentive to restore and present them with maximum care, the BFI’s restoration of Hitchcock’s nine surviving silent films being the crowning point of this. Had Hitchcock made no sound films, a few of the silent ones might survive in archival obscurity, providing material for the occasional article in specialist journals about a career of unfulfilled promise. From today’s perspective, they have a double interest: as harbingers of the great works of Hitchcock’s maturity and as eloquent (Top) The young Alfred Hitchcock, photographed in his breakthrough year, 1926. (Above) The press-book cover for Hitchcock’s overlooked silent comedy ‘The Farmer’s Wife’ (1928). The Lodger (1926, opposite) Ivor Novello emerges dramatically through the London fog. Step three: The evoluTion of sTyle By Charles Barr STEPS TO 39 Edited by James Bell ISBN 978-1-84457-534-3 £12 39STEPST0THEGENIUSOFHITCHCOCKEditedbyJamesBell BFI COMPENDIUM Fear of disorder, fear of authority – Alfred Hitchcock set out to “put the audience through it”while keeping his own less universal fears off-screen.“Fear of being laughed at for his eccentric artistic interests, fear of seeming pretentious or boring”– this legacy of an East End upbringing, according to his authorised biographer John RussellTaylor, explained Hitchcock’s reluctance to discuss his artistic awakening with any candour. Design and Art Direction
Books The Art Museum Ingres Géricault Decorative Art 60’s Industrial Design A-Z Open Asia Hitchcock Magazines Sight & Sound Eye Frieze Historic Scotland Advertorial Sight & Sound Variety Ephemera Leaflets and booklets Magazines Sight & Sound Art Director 2001 – present Design and Art Direction
Books The Art Museum Ingres Géricault Decorative Art 60’s Industrial Design A-Z Open Asia Hitchcock Magazines Sight & Sound Eye Frieze Historic Scotland Advertorial Sight & Sound Variety Ephemera Leaflets and booklets Magazines Sight & Sound Art Director 2001 – present Design and Art Direction
Books The Art Museum Ingres Géricault Decorative Art 60’s Industrial Design A-Z Open Asia Hitchcock Magazines Sight & Sound Eye Frieze Historic Scotland Advertorial Sight & Sound Variety Ephemera Leaflets and booklets Magazines Sight & Sound Redesign September 2012 Art Director 2001 – present Design and Art Direction Redesign 2012
Books The Art Museum Ingres Géricault Decorative Art 60’s Industrial Design A-Z Open Asia Hitchcock Magazines Sight & Sound Eye Frieze Historic Scotland Advertorial Sight & Sound Variety Ephemera Leaflets and booklets Magazines Sight & Sound Redesign September 2012 Art Director 2001 – present Design and Art Direction
Books The Art Museum Ingres Géricault Decorative Art 60’s Industrial Design A-Z Open Asia Hitchcock Magazines Sight & Sound Eye Frieze Historic Scotland Advertorial Sight & Sound Variety Ephemera Leaflets and booklets Magazines Sight & Sound Redesign September 2012 Art Director 2001 – present Design and Art Direction
Books The Art Museum Ingres Géricault Decorative Art 60’s Industrial Design A-Z Open Asia Hitchcock Magazines Sight & Sound Eye Frieze Historic Scotland Advertorial Sight & Sound Variety Ephemera Leaflets and booklets Magazines Sight & Sound Redesign September 2012 Art Director 2001 – present Design and Art Direction
MagazinesBooks The Art Museum Ingres Géricault Decorative Art 60’s Industrial Design A-Z Open Asia Hitchcock Magazines Sight & Sound Eye Frieze Historic Scotland Advertorial Sight & Sound Variety Ephemera Leaflets and booklets Sight & Sound Redesign September 2012 Art Director 2001 – present Design and Art Direction
Books The Art Museum Ingres Géricault Decorative Art 60’s Industrial Design A-Z Open Asia Hitchcock Magazines Sight & Sound Eye Frieze Historic Scotland Advertorial Sight & Sound Variety Ephemera Leaflets and booklets Magazines Eye – Quarterly design magazine Designer – 6 issues Design and Art Direction
Books The Art Museum Ingres Géricault Decorative Art 60’s Industrial Design A-Z Open Asia Hitchcock Magazines Sight & Sound Eye Frieze Historic Scotland Advertorial Sight & Sound Variety Ephemera Leaflets and booklets Magazines Frieze Designer Design and Art Direction
Books The Art Museum Ingres Géricault Decorative Art 60’s Industrial Design A-Z Open Asia Hitchcock Magazines Sight & Sound Eye Frieze Historic Scotland Advertorial Sight & Sound Variety Ephemera Leaflets and booklets Magazines Historic Scotland Art Director – quarterly magazine Design and Art Direction
Books The Art Museum Ingres Géricault Decorative Art 60’s Industrial Design A-Z Open Asia Hitchcock Magazines Sight & Sound Eye Frieze Historic Scotland Advertorial Sight & Sound Variety Ephemera Leaflets and booklets Advertorial Sight & Sound Crime Wave – 20 page covermount for TCM Oscar Stories – 16 page covermount for TCM Design and Art Direction
Books The Art Museum Ingres Géricault Decorative Art 60’s Industrial Design A-Z Open Asia Hitchcock Magazines Sight & Sound Eye Frieze Historic Scotland Advertorial Sight & Sound Variety Ephemera Leaflets and booklets Advertorial Sight & Sound Chaplin – 16 page covermount for Warner Bros Black World – 32 page covermount for HMV Design and Art Direction
Books The Art Museum Ingres Géricault Decorative Art 60’s Industrial Design A-Z Open Asia Hitchcock Magazines Sight & Sound Eye Frieze Historic Scotland Advertorial Sight & Sound Variety Ephemera Leaflets and booklets Advertorial Variety Multi-page promotions for Mid-Eastern TV companies and festivals Design and Art Direction
Books The Art Museum Ingres Géricault Decorative Art 60’s Industrial Design A-Z Open Asia Hitchcock Magazines Sight & Sound Eye Frieze Historic Scotland Advertorial Sight & Sound Variety Ephemera Leaflets and booklets Ephemera Leaflets and booklets Design and Art Direction
Design and Art Direction

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Brawn Portfolio_small

  • 1. Design and Art Direction
  • 2. Books The Art Museum Ingres Géricault Decorative Art 60’s Industrial Design A-Z Open Asia Hitchcock Magazines Sight & Sound Eye Frieze Historic Scotland Advertorial Sight & Sound Variety Ephemera Leaflets and booklets Books The Art Museum Page layout Design and Art Direction
  • 3. Books The Art Museum Ingres Géricault Decorative Art 60’s Industrial Design A-Z Open Asia Hitchcock Magazines Sight & Sound Eye Frieze Historic Scotland Advertorial Sight & Sound Variety Ephemera Leaflets and booklets Books Ingres Page layout Design and Art Direction
  • 4. Books The Art Museum Ingres Géricault Decorative Art 60’s Industrial Design A-Z Open Asia Hitchcock Magazines Sight & Sound Eye Frieze Historic Scotland Advertorial Sight & Sound Variety Ephemera Leaflets and booklets Books Géricault Page layout Design and Art Direction
  • 5. Books The Art Museum Ingres Géricault Decorative Art 60’s Industrial Design A-Z Open Asia Hitchcock Magazines Sight & Sound Eye Frieze Historic Scotland Advertorial Sight & Sound Variety Ephemera Leaflets and booklets Books Decorative Art 60s Design of cover, introduction and break spreads Design and Art Direction
  • 6. Books The Art Museum Ingres Géricault Decorative Art 60’s Industrial Design A-Z Open Asia Hitchcock Magazines Sight & Sound Eye Frieze Historic Scotland Advertorial Sight & Sound Variety Ephemera Leaflets and booklets Books Industrial Design A-Z Design and Art Direction
  • 7. Books The Art Museum Ingres Géricault Decorative Art 60’s Industrial Design A-Z Open Asia Hitchcock Magazines Sight & Sound Eye Frieze Historic Scotland Advertorial Sight & Sound Variety Ephemera Leaflets and booklets Books Open Asia Exhibition book of photographs by Kris Dewitte Design and Art Direction
  • 8. Books The Art Museum Ingres Géricault Decorative Art 60’s Industrial Design A-Z Open Asia Hitchcock Magazines Sight & Sound Eye Frieze Historic Scotland Advertorial Sight & Sound Variety Ephemera Leaflets and booklets Books Hitchcock Book for season of films at the BFI Southbank 39 Steps to the Genius of Hitchcock 4746 Hitchcock always made a key clarification whenever anyone quoted his famous dictum,“Actors are cattle.” What he really said, Hitch claimed, was that actors should be treated like cattle.Well, cattle in most countries are fed and allowed to graze until being led to the abattoir. So are Hitchcock’s actors so many lambs to the slaughter, too? Hitch took a fetishist’s delight in dressing up his blonde leading ladies over the years so that they started to seem like different versions of each other,Anny Ondra blending into the cooler Madeleine Carroll, white-hot Grace Kelly morphing into the existentially confused Kim Novak and then into the more brittle Tippi Hedren.Yet they are distinct, and his handling of them is distinct, even if he sometimes led them into repeating certain tropes from his own past.The last time I saw Vertigo, I noticed that when Novak is playing Madeleine Elster, she often repeats exactly the halting vocal patterns of Joan Fontaine in Rebecca and Suspicion. Hitch himself professed to be slightly bewildered with Novak’s Method approach to her role, where she wanted to think out every moment. It seems clear that Hitchcock was not a fan of actorly autonomy. The green Fontaine gives such a fine performance in Rebecca partly because the other more experienced British actors in the cast (Laurence Olivier among them) dismissed and ignored her off camera as well as on. Hitchcock would knowingly foster a situation like that on his sets if it served the needs of his film, but by the 1950s he had no patience with either Novak’s worries or with the cerebral gymnastics of Montgomery Clift in I Confess, a performance where every single moment has been chewed on in such a self-conscious way that finally all you see is a beautiful actor acting up a storm beneath his mannered guises of underplaying or trying to be lifelike, so that he’s an awfully neurotic- seeming priest, even though he’s supposed to be totally repressed. Clift makes the feelings of this man so evident underneath the repression that there are certain close- ups where they glare like a neon sign; this is not the kind of showy performing that Hitchcock generally favoured. During Hitchcock’s silent period, his actors seem left to their own devices, though he does show an alertness to the strange carnality of Anny Ondra in The Manxman, which spills over into his first talking feature, Blackmail.The surviving sound test for Blackmail shows Hitch’s way with actresses: he mercilessly teases Ondra.“Have you been a bad woman or something?” he asks, as she fidgets happily.“But you’ve slept with men,” he insists, and she flutters and cries,“Oh, no!” in a very coquettish, very worldly fashion (Ondra was Czech, not British).“Stand in your place, otherwise it will not come out right, as the girl said to the soldier,” he jokes, while Ondra puts her hand to her mouth and giggles away from him. Hitchcock could be a put-on comic and a dirty I Confess (1953, opposite) Hitchcock confers with Montgomery Clift. He had little patience for Clift’s Method approach. Blackmail (1929, below) Hitchcock encouraged Anny Ondra’s boldly sexual performance. Step eleven: in the act By Dan callahan 39 Steps to the Genius of Hitchcock 5352 Step twelve: The RighT Women By Camille Paglia The Birds (1963, top) Suzanne Pleshette (left) and Tippi Hedren (right) stand frozen beneath a full moon. To Catch a Thief (1955, above) Grace Kelly, wearing the diamond necklace she invites John Robie (Cary Grant) to touch. Vertigo (1958, opposite) Kim Novak as Madeleine. Psycho (1960, below) Marion Crane (Janet Leigh) in one of her formidably constructed brassieres. With a spate of new movies being made about Alfred Hitchcock, charges about his reputed misogyny will soon be back in the air.There is abundant evidence of Hitchcock’s insistence on total and sometimes autocratic control of his productions as well as of his leading ladies. But misogyny is a hopelessly simplistic and reductive term for the passionately conflicted attitude of major male artists towards women. Art-making is not just a formal exercise but a quest for identity, a strategy of defence against turbulent reality. Hitchcock’s view of women is not politically correct. But his haunting films continue to gain power over time because of the profound depth and searing truth of his emotional world.What he records is the agonised complexity of men’s relationship to women – a roiling mass of admiration, longing, neediness and desperation. Heterosexual men instinctively know that women have magic. Gay men know it and, through high fashion, ingeniously enhance it. Drag queens heartily mimic it. Most heterosexual women keenly observe, monitor and competitively evaluate the magic of other women. Only feminist theorists, evidently, fail to see that magic – or they contemptuously dismiss it as a product of social conditioning and commercial manipulation. Hitchcock’s great films of the 1950s and early 1960s show the tension between men’s fear of emotional dependency and their worship of women’s beauty, which floods the eye and enforces an erotic response over which a man has ethical but not conceptual control. Beautiful women are a fascinating conflation of nature and art.They often have an elusive, dreamy apartness, suggesting a remote inner realm to which a man can claim only momentary access. It is a theme in Botticelli’s Birth ofVenus, Raphael’s Madonnas, and Leonardo’s Mona Lisa. It can be seen in more sexually perverse form in Rossetti’s florid somnambules and the drugged odalisques of Ingres and Manet. Beautiful young men too may have that reserve and distance, as captured from Greek art to Wilde’s The Picture of Dorian Gray. Jean Cocteau saluted Wilde in declaring,“The privileges of beauty are enormous.” Similarly,Tennessee Williams’s Mrs Stone says,“People who are very beautiful make their own laws.” The two poles of Hitchcock’s erotic vision are woman as objet d’art and woman as devouring mother. One pleasures the eye, and the other assaults it. Hitchcock warned Janet Leigh before Psycho,“My camera is absolute.” His camera habitually frames woman as a gorgeous cult object whom he loves to dress and drape.We know from Edith Head that Hitchcock designed Grace Kelly’s clothes for RearWindow; everything was already specified, from colour to fabric, in the script. He chose Kim Novak’s magnificently varied clothing for Vertigo, forcing a now classic grey suit on her that she hated. He took Eva Marie Saint to Bergdorf Goodman’s, sat with her as mannequins 39 Steps to the Genius of Hitchcock 1716 Much of Hitchcock’s early inspiration came from silent filmmakers who barely survived the industry’s conversion to sound at the end of the 1920s. No one now remembers the unsuccessful talkies (two each) made by the great pioneers D.W. Griffith and Victor Sjöström; F.W. Murnau died in 1931 without having made a fully synchronised film.What if Hitchcock’s own career had ended, for whatever reason, before he made Britain’s first talking feature, Blackmail, in 1929? Would he still, like them, have a significant place in film history? Probably not.Would he deserve to?Yes. Compared with men like those, his directing career in silent cinema had been brief: four years and ten films, including the silent version of Blackmail. Nor did any of these films, unlike theirs, make an international impact at the time.Those that reached America were received with condescension or outright scorn. For Variety, his third feature The Lodger was“a trashy commercial film worthless for‘art’ audiences and for the generality of American fans alike”, while his seventh, The Farmer’sWife, was a“meritless” picture whose direction was simply“amateurish”.America was ready to welcome more obviously exotic films from continental Europe, but British films had a continual struggle. Reviewers failed to make any distinction between Hitchcock and his British contemporaries, let alone to recognise that his use of the silent medium in these films was, in its sophistication, at least in the same league as the bright young Hollywood directors of the time such as John Ford, Howard Hawks and King Vidor. Even in America, Hitchcock’s silent output is now becoming more fully known and celebrated than theirs, but several big things had to happen in order to make this possible. In the mid-1930s he began to make an international impact with thrillers like The 39 Steps, and this encouraged, crucially, the preservation of his work by the film-archive movement that was just getting seriously under way. His move to Hollywood in 1939 raised him to a new level of celebrity, and his subsequent films would become central texts in the spectacular expansion of writing and teaching about cinema that took place from the 1960s onward – which in turn created a growing interest in his early work, including the silent films. Finally,VHS and then DVD allowed these films to become more accessible; the strong Hitchcock market supplied an incentive to restore and present them with maximum care, the BFI’s restoration of Hitchcock’s nine surviving silent films being the crowning point of this. Had Hitchcock made no sound films, a few of the silent ones might survive in archival obscurity, providing material for the occasional article in specialist journals about a career of unfulfilled promise. From today’s perspective, they have a double interest: as harbingers of the great works of Hitchcock’s maturity and as eloquent (Top) The young Alfred Hitchcock, photographed in his breakthrough year, 1926. (Above) The press-book cover for Hitchcock’s overlooked silent comedy ‘The Farmer’s Wife’ (1928). The Lodger (1926, opposite) Ivor Novello emerges dramatically through the London fog. Step three: The evoluTion of sTyle By Charles Barr STEPS TO 39 Edited by James Bell ISBN 978-1-84457-534-3 £12 39STEPST0THEGENIUSOFHITCHCOCKEditedbyJamesBell BFI COMPENDIUM Fear of disorder, fear of authority – Alfred Hitchcock set out to “put the audience through it”while keeping his own less universal fears off-screen.“Fear of being laughed at for his eccentric artistic interests, fear of seeming pretentious or boring”– this legacy of an East End upbringing, according to his authorised biographer John RussellTaylor, explained Hitchcock’s reluctance to discuss his artistic awakening with any candour. Design and Art Direction
  • 9. Books The Art Museum Ingres Géricault Decorative Art 60’s Industrial Design A-Z Open Asia Hitchcock Magazines Sight & Sound Eye Frieze Historic Scotland Advertorial Sight & Sound Variety Ephemera Leaflets and booklets Magazines Sight & Sound Art Director 2001 – present Design and Art Direction
  • 10. Books The Art Museum Ingres Géricault Decorative Art 60’s Industrial Design A-Z Open Asia Hitchcock Magazines Sight & Sound Eye Frieze Historic Scotland Advertorial Sight & Sound Variety Ephemera Leaflets and booklets Magazines Sight & Sound Art Director 2001 – present Design and Art Direction
  • 11. Books The Art Museum Ingres Géricault Decorative Art 60’s Industrial Design A-Z Open Asia Hitchcock Magazines Sight & Sound Eye Frieze Historic Scotland Advertorial Sight & Sound Variety Ephemera Leaflets and booklets Magazines Sight & Sound Redesign September 2012 Art Director 2001 – present Design and Art Direction Redesign 2012
  • 12. Books The Art Museum Ingres Géricault Decorative Art 60’s Industrial Design A-Z Open Asia Hitchcock Magazines Sight & Sound Eye Frieze Historic Scotland Advertorial Sight & Sound Variety Ephemera Leaflets and booklets Magazines Sight & Sound Redesign September 2012 Art Director 2001 – present Design and Art Direction
  • 13. Books The Art Museum Ingres Géricault Decorative Art 60’s Industrial Design A-Z Open Asia Hitchcock Magazines Sight & Sound Eye Frieze Historic Scotland Advertorial Sight & Sound Variety Ephemera Leaflets and booklets Magazines Sight & Sound Redesign September 2012 Art Director 2001 – present Design and Art Direction
  • 14. Books The Art Museum Ingres Géricault Decorative Art 60’s Industrial Design A-Z Open Asia Hitchcock Magazines Sight & Sound Eye Frieze Historic Scotland Advertorial Sight & Sound Variety Ephemera Leaflets and booklets Magazines Sight & Sound Redesign September 2012 Art Director 2001 – present Design and Art Direction
  • 15. MagazinesBooks The Art Museum Ingres Géricault Decorative Art 60’s Industrial Design A-Z Open Asia Hitchcock Magazines Sight & Sound Eye Frieze Historic Scotland Advertorial Sight & Sound Variety Ephemera Leaflets and booklets Sight & Sound Redesign September 2012 Art Director 2001 – present Design and Art Direction
  • 16. Books The Art Museum Ingres Géricault Decorative Art 60’s Industrial Design A-Z Open Asia Hitchcock Magazines Sight & Sound Eye Frieze Historic Scotland Advertorial Sight & Sound Variety Ephemera Leaflets and booklets Magazines Eye – Quarterly design magazine Designer – 6 issues Design and Art Direction
  • 17. Books The Art Museum Ingres Géricault Decorative Art 60’s Industrial Design A-Z Open Asia Hitchcock Magazines Sight & Sound Eye Frieze Historic Scotland Advertorial Sight & Sound Variety Ephemera Leaflets and booklets Magazines Frieze Designer Design and Art Direction
  • 18. Books The Art Museum Ingres Géricault Decorative Art 60’s Industrial Design A-Z Open Asia Hitchcock Magazines Sight & Sound Eye Frieze Historic Scotland Advertorial Sight & Sound Variety Ephemera Leaflets and booklets Magazines Historic Scotland Art Director – quarterly magazine Design and Art Direction
  • 19. Books The Art Museum Ingres Géricault Decorative Art 60’s Industrial Design A-Z Open Asia Hitchcock Magazines Sight & Sound Eye Frieze Historic Scotland Advertorial Sight & Sound Variety Ephemera Leaflets and booklets Advertorial Sight & Sound Crime Wave – 20 page covermount for TCM Oscar Stories – 16 page covermount for TCM Design and Art Direction
  • 20. Books The Art Museum Ingres Géricault Decorative Art 60’s Industrial Design A-Z Open Asia Hitchcock Magazines Sight & Sound Eye Frieze Historic Scotland Advertorial Sight & Sound Variety Ephemera Leaflets and booklets Advertorial Sight & Sound Chaplin – 16 page covermount for Warner Bros Black World – 32 page covermount for HMV Design and Art Direction
  • 21. Books The Art Museum Ingres Géricault Decorative Art 60’s Industrial Design A-Z Open Asia Hitchcock Magazines Sight & Sound Eye Frieze Historic Scotland Advertorial Sight & Sound Variety Ephemera Leaflets and booklets Advertorial Variety Multi-page promotions for Mid-Eastern TV companies and festivals Design and Art Direction
  • 22. Books The Art Museum Ingres Géricault Decorative Art 60’s Industrial Design A-Z Open Asia Hitchcock Magazines Sight & Sound Eye Frieze Historic Scotland Advertorial Sight & Sound Variety Ephemera Leaflets and booklets Ephemera Leaflets and booklets Design and Art Direction
  • 23. Design and Art Direction