Writing An Obituary Template

Monday, November 22nd 2021. | Sample Templates

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Remembering Bob Gill: “There’s no such thing as a bad client” Remembering Bob Gill: “There’s no such thing as a bad client” We look back at the life of graphic designer Bob Gill, a founding member of Fletcher/Forbes/Gill as well as D&AD, who has died at the age of 90. By Henry Wong November 23, 2021 4:56 pm November 23, 2021 6:17 pm We look back at the life of graphic designer Bob Gill, a founding member of Fletcher/Forbes/Gill as well as D&AD, who has died at the age of 90. By Henry Wong November 23, 2021 4:56 pm November 23, 2021 6:17 pm Bob Gill, co-founder of Pentagram precursor Fletcher/Forbes/Gill and founding member of D&AD, has died at the age of 90. Bob Gill, co-founder of Pentagram precursor Fletcher/Forbes/Gill and founding member of D&AD, has died at the age of 90. Gill was born in Brooklyn, New York in 1931, where he was raised by his mother. He later studied at the Philadelphia Museum School of Art and Pennsylvania Academy of Fine Arts before moving to New York. Gill was born in Brooklyn, New York in 1931, where he was raised by his mother. He later studied at the Philadelphia Museum School of Art and Pennsylvania Academy of Fine Arts before moving to New York. Early professional work included illustrations for magazines such as Esquire and Seventeen. In 1960, he moved to London to work for ad agency Charles Hobson and two years later on April Fool’s Day, he set up Fletcher/Forbes/Gill along with British designers Alan Fletcher and Colin Forbes. Self-portrait by Gill Early professional work included illustrations for magazines such as Esquire and Seventeen. In 1960, he moved to London to work for ad agency Charles Hobson and two years later on April Fool’s Day, he set up Fletcher/Forbes/Gill along with British designers Alan Fletcher and Colin Forbes. Self-portrait by Gill According to one Pentagram legend, the designers decided to unite following advice Gill received from a fortune teller. The team worked from a mews house off Baker Street (alongside a receptionist and her dog) with clients including Penguin, Pirelli and Time Life. Fletcher later described those early days to Design Week, conveying an enthusiastic if somewhat chaotic atmosphere – the three designers once argued over a Penguin commission for a book cover for £30. According to one Pentagram legend, the designers decided to unite following advice Gill received from a fortune teller. The team worked from a mews house off Baker Street (alongside a receptionist and her dog) with clients including Penguin, Pirelli and Time Life. Fletcher later described those early days to Design Week, conveying an enthusiastic if somewhat chaotic atmosphere – the three designers once argued over a Penguin commission for a book cover for £30. In 1967, Gill left the partnership to pursue other opportunities. Five years later, the remaining partners added more designers to the mix and Pentagram was formally created. A brush with rock and roll history Bob Gill, Alan Fletcher and Colin Forbes. Courtesy of Pentagram In 1967, Gill left the partnership to pursue other opportunities. Five years later, the remaining partners added more designers to the mix and Pentagram was formally created. A brush with rock and roll history Bob Gill, Alan Fletcher and Colin Forbes. Courtesy of Pentagram Gill’s influence not only touched design but music too – his assistant during the early days of Fletcher/Forbes/Gill was Charlie Watts. As Gill would later tell the story, he advised Watts to quit graphic design and focus on drumming – a lesson Watts took to heart when he left to join the on-the-rise Rolling Stones. In a full-circle moment for the studio, Pentagram led the design on an immersive exhibition for the band at London’s Saatchi Gallery in 2016. Gill’s influence not only touched design but music too – his assistant during the early days of Fletcher/Forbes/Gill was Charlie Watts. As Gill would later tell the story, he advised Watts to quit graphic design and focus on drumming – a lesson Watts took to heart when he left to join the on-the-rise Rolling Stones. In a full-circle moment for the studio, Pentagram led the design on an immersive exhibition for the band at London’s Saatchi Gallery in 2016. Speaking to Design Week in 2012, Gill did not hold back. He recalls setting up D&AD in the 60s, partly in opposition to the Society of Industrial Artists (SIA was renamed Chartered Society of Designers in the 80s), a group Gill called “moribund and so old fashioned”. Gill refused the SIA’s invitation to become a member and instead suggested a debate so that the design and advertising sector could air their grievances. His suggested title for the debate? ‘The SIA is full of shit.’ “They liked the idea of a debate but were less happy with my suggestion of a name,” Gill said. “We ended up calling it, ‘Why join the SIA?’.” Speaking to Design Week in 2012, Gill did not hold back. He recalls setting up D&AD in the 60s, partly in opposition to the Society of Industrial Artists (SIA was renamed Chartered Society of Designers in the 80s), a group Gill called “moribund and so old fashioned”. Gill refused the SIA’s invitation to become a member and instead suggested a debate so that the design and advertising sector could air their grievances. His suggested title for the debate? ‘The SIA is full of shit.’ “They liked the idea of a debate but were less happy with my suggestion of a name,” Gill said. “We ended up calling it, ‘Why join the SIA?’.” Gill returned to New York in the 70s, where he began teaching at the School of Visual Arts. He also worked on the design of 1977 Broadway musical Beatlemania, which told the story of the 60s to the British rock band’s songs. He was also a prolific writer, writing 19 books in total. They have typically tongue-in-cheek titles like Forget All the Rules You Ever Learned About Graphic Design, Including the Ones in This Book and Unspecial Effects for Graphic Designers. “There’s no such thing as a bad client” Gill with Seymour Chwast in 2019. Courtesy of Ricky Cheung Gill returned to New York in the 70s, where he began teaching at the School of Visual Arts. He also worked on the design of 1977 Broadway musical Beatlemania, which told the story of the 60s to the British rock band’s songs. He was also a prolific writer, writing 19 books in total. They have typically tongue-in-cheek titles like Forget All the Rules You Ever Learned About Graphic Design, Including the Ones in This Book and Unspecial Effects for Graphic Designers. “There’s no such thing as a bad client” Gill with Seymour Chwast in 2019. Courtesy of Ricky Cheung

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