The items mentioned sounded like bells in my ears. On 'Design is history' I found an enumeration of the most influential things and people in the 80s and 90s of the last century in the field of design. So I guess it was time to bring back Chris Ashworth's work into the light, as he was art director for the magazine in its glorious years. Doing the cardboard boxes, I found my collection of Ray Gun cult magazines. Chris Ashworth therefore became one of the graphic radicals who defined an era.Ī few weeks ago I was unpacking the last moving boxes containing a collection of magazines. Featuring upside-down pages, illegible interviews, and appearances from Sonic Youth, Björk and David Bowie, the pioneering magazine shook up US publishing. Over three decades, he continued to work with paper, ink, tons of tape and Letraset dry-transfer lettering sheets, among many other physical materials. A devout adherent to the analog process, Ashworth's hands-on directness created hugely flawed and beautifully imperfect typographic works stands out in an age that emphasizes the cleanliness, control and standardization of digital workflows. Chris Ashworth is a British designer and typographer who worked on 15 issues of the publication. It was the most eye-catching, explorative and downright irreverent magazine of its time. If you've ever seen a copy of 'Ray Gun', the experimental rock-and-roll magazine that ran from 1992-1999, you might recognize the raw grungy aesthetic uniting many of its covers. The man responsible for this hybrid aesthetic, that became known as “Swiss Grit”, was Chris Ashworth. Back in the late 1990s 'Ray Gun' was one of my favourite print publications, due largely to it’s random, scratchy, typography that blended the original Swiss Style with a more personal hand-crafted approach.
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