David Hillman

Natural-born avant-garde designer

By Ali Rashidi

David Hillman’s name more than anything reminds us of an avant-garde designer’s open mind whose tendencies are always based on the future. It seems though that the time periods in which Hillman has grown and flourished have affected his personality and broad-mindedness. In other words, the simultaneity of Hillman’s activities with many social and cultural events in the world and United Kingdom in particular has furnished him with tremendous opportunities in a way that he can be considered as one of the most daring graphic designers in the area of the press.

Hillman’s presence in the world of press with regards to his innovative and modern perspectives has always accompanied change. He was easily able to define the position of a particular magazine or newspaper, or change it. His use of the best world photographers such as Man Ray, attention to written texts and letters as means of applicable tools and not merely decorative and regards to the meaning of page illustration as creating an atmosphere around the pictures were all among elements that made this positioning possible.

His interpretation of time was so linked with profound thinking that sometimes made his colleagues doubtful but Hillman precisely predicted the consequences of his innovations. On the evening when the Guardian newspaper was supposed to be printed and published in the new design and form, many chief editors and journalists spoke metaphorically about the ‘early death of a friend’ and they even called him the murderer of the Guardian because for the first time the titles of a morning daily in Britain were being published with the combination of different fonts. This simple work created a revolution in the appearance of British newspapers and all other rival newspapers felt old and belonging to the previous period.

To find answers for every problem Hillman at first seeks to identify its particulars and essence. In addition, Hillman strongly believes that a designer must well recognize his working tools. These perceptions in different periods have made his work outcomes distinguished from others. For example, like the day that the Royal Family wedding was supposed to be held in London. On that day, all newspapers would definitely dedicate their front pages to a picture of this ceremony. Hillman who could easily predict and imagine the appearance of all newspapers on that day suggested that one hundred cameras and one hundred rolls of films be given to the ordinary people present in the crowd and ask them to photograph the ceremony. His newspaper, therefore, printed a different report of the ceremony that was unique of its kind.

Since 1978 David Hillman has been a partner in Pentagram Company, one of the most reputable design consulting firms. Hillman’s rich experiences and working in such a company that requires expertise in various areas of design has turned him into a collection of diverse skills and has granted him the possibility to use the ideas of one arena to resolve the questions that may appears in another arena of graphic design. Perhaps, elaborating on the solution he offered for the brochures of Wakefield Fortune Travel Agency can determine this more specifically. Hillman suggested the brochures hidden behind the counter in the agency to be displayed so the agency would be viewed as a magazine. “Place all brochures behind the window and make sure there will be someone in the agency to answer referrals. The windows, therefore, are the magazine cover and what is inside the agency are the contents of this magazine.”

David Hillman who regards opinion differences and mental challenges between colleagues as means for explosion of ideas has always achieved valuable experiences in the shadow of his collaborations. He states: “Nothing like a conversation with the client can inform me of the activities and nature of a company.” By establishing mental and emotional relations with the clients he always steps beyond the requirements that contracts create, yet he “never limits himself to the client’s written requests.” This multilateral outlook has brought Hillman to a level of certainty that he can totally negate an all inclusive and old belief. In times when everyone repeats the slogan “Client is always right” and by repeating this humble sentence they unwontedly hurt their clients Hillman bravely rejects this theory and only considers some clients with ‘lesser mistakes’ than others. Hillman says: “I don’t want them to treat me like an operator. I have more dignity than that. I know exactly what I am doing but they don’t. Indeed, if the client knew what he wanted why would he refer to a consultant to resolve his problem?”

Time has always accompanied Hillman in the course of the emergence and evolution of his professional life. This quality is found not only during his student years that were before graphic design ever took shape as a profession but also in the beginning of his life. Hillman was born before the invention of television and the first TV advertisement in Britain was broadcasted when he was only 12 years old. Hillman, therefore, has been born and grown like a twin brother to graphic design and comprehensive advertisement. This is an opportunity accessed not by will and choice but with the pace of time.

Impersion of faince seal / religious scene / Chogha zanbil / 1250-1200 B.C

Brochure cover for Modernism Exhibition, 2006

Guardian Newspaper

Nova Magazine

In the mid-60’s Nova pioneered the new generation of intelligent magazines for women, openly presenting subjects which had previously been considered taboo. For the first time visual impact and editorial content were treated with equal importance, and the fine balance achieved and sustained over seven years won several major awards for design and art direction.

IDI (Interior Design International) identity and poster series, 1992

Series of 9 promotional posters designed to promote IDI at Earls Court, London. IDI hosts an annual show at Earls Court in West London. A memorable yet flexible identity was required to both confirm IDS as an authoritative body and enable different aspects of their remit to be promoted. The core typography therefore remains constant, whilst the bowl of the “d” can be transformed according to required content for posters and promotional materials.

National Maritime Museum Signage, 1999

The idea for this signage came from a child’s toy boat: the shape and structure of the signs allude

 to sails, with uprights representing masts. Each sign is color-coded to relate to maps, different floors,

 with the color denoting North, South, East and West, depending where one is in the building. A clean,

modern typographical language is employed communicating information with optimum  clarity.clarity.

 Millennium stamps, 1999

The Royal Mail invited Pentagram to design and art direct a set of photographic stamps to celebrate the

 Millennium. Various themes were chosen to celebrate and promote millennium-funded projects covering

a wide range of subjects all of which have laid foundations for the future. Themes included conservation,

environmental awareness, public spaces and historic events. Pentagram commissioned, briefed and art

directed the photographers. The stamps were released monthly in themed sets of four. The series was

awarded a Silver award at the 2001 D&AD (British Design & Art Direction) Awards - 

for photography & digital manipulation

Above and Beyond – released on January 2000

Fire and Light – released on February 2000

Water and Coast – released on March 2000

Life and Earth – released April 2000

Art and Craft – released May 2000

People and Place – released June 2000

Stone and Soil – released July 2000

Tree and Leaf – released August 2000

Mind and Matter – released September 2000

Body and Bone – released October 2000

Spirit and Faith – released November 2000

Sound and Vision – released December 2000