Vaughan Oliver

Vaughan Oliver (born 1957) is a graphic designer based in Wandsworth, South West London.

Oliver is most noted for his work with graphic design studios 23 Envelope and v23. Both studios maintained a close relationship with record label 4AD between 1982 and 1998 and were to give distinct visual identities for the 4AD releases by many bands, including: Cocteau Twins, Dead Can Dance, This Mortal Coil, Pale Saints, Pixies, Throwing Muses, etc (see 4AD)..

23 Envelope consisted of Vaughan Oliver (graphic design and typography) and Nigel Grierson (photography). Together, they created the artwork for almost all 4AD releases until 1987. Nigel Grierson left 23 Envelope in 1988. At that time Vaughan Oliver continued to work for 4AD under the studio name v23, collaborating with Chris Bigg, Paul McMenamin, Simon Larbalestier and others. Most admired for his collaborative energy and imagination, Oliver had thus set the stage for the graphic revolution of the 1980s and -90s. His impact on the post-punk music industry is still celebrated, as is his influence on a generation of designers exploring the possibilities of type and print.

In 1994, many of those that had collaborated with Vaughan Oliver over the previous decade, contributed to a lavishly illustrated catalogue for the seminal retrospective exhibition of his work held at the Pacific Design Center in Los Angeles, [http://www.amazon.com/dp/0952421607 This Rimy River] . Recollections of the v23 design experience were provided by individuals such as v23 collaborator Chris Bigg, the influential design pundit Rick Poynor (who was singularly responsible for putting Oliver's work centre-stage throughout the early-1990s) [Rick Poynor, "Exhibition/Exposition", CRDC, Nantes, 1990/1991; "The Graphic Edge", Booth-Clibborn Editions, London, 1993; "Design Without Boundaries: Visual Communication in Transition", Booth-Clibborn Editions, London, 1998; "Vaughan Oliver: Visceral Pleasures", Booth-Clibborn Editions, London, 2000.] , and art critic Ian McKay who, in numerous art publications, had been keen to frame Oliver's work in a fine art context. [Ian McKay, "Oliver’s D-Day", XYZ Design & Technology, May, 1990; "Un Dandy de la Pochette", Artline International, Summer, 1990.] Like so many publications produced by v23, the catalogue [Vulva O'Reighan (Editor) "This Rimy River: Vaughan Oliver and Graphic Works 1988-94", Pacific Design Centre, 1994.] quickly became a collectors item.

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