By Adrian Shaughnessy and Neville Brody
352 pages, hardcover, $85
Published by Thames & Hudson
thamesandhudson.com

The highly anticipated book The Graphic Language of Neville Brody 3 was worth the wait. This newest epic monograph released by Thames & Hudson after almost 30 years since publishing company Rizzoli’s sequel feasts the eyes and feeds the creative senses. Written and edited by Adrian Shaughnessy and the illustrious creator—known historically for his rebellious work on The Face and Arena magazines, edgy record covers of the late ’80s and early ’90s, and other notable projects—this hardback encapsulates the prolific British designer’s last 30 years of productions. The slip-cased collection includes an enlightening foreword by Steven Heller, more than 1,300 bright illustrations across six chapters showcasing Brody’s commercial work across editorial, branding, typography, systems, information and interface design for organizations such as Coca-Cola, snowboard brand Salomon and the Royal College of Art, and caps off with comments by designers Naomi Hirabayashi and Jo-Ann Furniss.

This retrospective dives deep with dense articles, captions and sweeping displays of Brody’s energetic work. The pages literally explode with experimental graphics and a cacophony of typography. Information blends with art. Teeming with treasures and insights, the text offers a better understanding of the genius behind some of our time’s most masterful design work. Perhaps my favorite surprise inclusion was Brody’s talk “Can Design Feed the People?” from the 2000 Design Indaba conference in Cape Town. This book is a must-have for any fan or history buff looking to understand the influence and evolution of Brody’s iconic talent on the industry and the masses. —Nancy Goulet