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MERCURY FILMS POSTER+LOGO
MOJO CYCLES LOGO
SAKHOUSE FAV ICON
HELVETLICA17 BOLD & HELVETLICA17 SOLID GMD TYPEFACE DESIGN
MOJO CYCLES LIGHTBOX POSTER
ABSOLUT VODKA PUBLISHED AD
MERCURY FILMS POSTER+
SAKHOUSE LOS ANGELES WEBSITE+LOGO
LYNN ROSENBLOOD LOS ANGELES WEBSITE
THE HUNDRED DOLLAR PORTRAIT POSTER
DESIGN + PICTURE + TYPEFACE
AWARDS + RECOGNITION + PRESS
Brown's obsession with design began at an early age in Brighton, England. Collecting stamps, making scrapbooks, delivering London newspapers and magazines, as well as a trip to Paris were all influences. At fifteen — before he had his own camera — he began printing his father’s negatives in the family basement.
Three years after his first darkroom, he bought a Mamiya 4×5 and studied Ansel Adam’s black-and-white Zone System. In his late teens, Malcolm Brown moved to Canada where his work soon appeared in exhibitions and publications. At twenty, he designed windows on Yonge Street, photographed ballet, and attended art school. He then landed a position as designer, then art director, at Citytv/ MuchMusic in Toronto.
Brown has over twenty years experience art directing and designing magazines. His publications and clients include Adbusters [Vancouver], enRoute [Air Canada, Montreal], I.C.E., Shift, Outpost, Raygun [prototype, Los Angeles] and Unlimited [Alberta].
B-side: Brown has been involved in many sports — cycling, football [soccer], kayaking, running marathons, table tennis, and windsurfing. One of his latest obsessions is repurposing old and new garb with his newly acquired sewing machine.
He has won numerous gold and silver Nat-ional Magazine Awards and ADCC awards, as well as a New York Type Directors Club Award for Shift.
As print began to fade, Brown launched into website design, and more recently tablet and mobile. He is skilled in CSS, Dreamweaver, FolioLink, HTML5, Squarespace, Wordpress and the past year he has fully immersed himself in Adobe Muse, Premiere Pro and After Effects. He has also been shooting and editing his own videos during any downtime.
During his career, Brown has maintained close ties to the design community: judging National Magazine Awards; mentoring students at The Advertising & Design Club of Canada [ADCC]; sharing his knowledge and expertise through speaking engagements at George Brown College, OCAD University, Ryerson University, AMPA [Calgary] MacEwan University [Alberta] and the University of Toronto.
Brown defines his design aesthetic as
bodly minimal and off-kilter, with an emphasis on photography and modernist typography.
Design and photography are always
fighting for top spot, but it’s this vital
friction that keeps things interesting.
GrafikMilk Design is about 11 years old and rises or falls depending on contractual projects.
SPACES + PORTRAITS/NEW SITE
VIDEO SHORTS KEENLY MADE DURING SOME DOWNTIME
Recent GMD Projects:
CDN FILM CENTER [illustrations], BLACK CODE [film poster], VehicleSF/San Francisco [photos], EDWARD BURTYNSKY [website for book+film], MOJO CYCLES [poster+logo], SAKHOUSE LOS ANGELES [website+logo], SOLID DESIGN BUILD [restaurant+bar photos], HELVETLICA [typeface], DEMOCRATS ABROAD [u.s. election night photos], THE HUNDRED DOLLAR PORTRAIT [photographs for an exhibition], COLLECTIVE ARTS BREWING [photo for beer lable series 1]
I see milk, I see white space. And white space [or negative space] is crucial to good design. In fact more of it, often means more provoking design–and the placement of text and/or picture within that space
- - -
I also drank gallons of milk in England,
as a boy, and a 'milk monitor', after school, guzzling whatever was left over from our 11:15 and 3:00 snack breaks.
Research says that humans don't need cow's milk. However, I had cows outside my school window – so I daydreamed of cows and milk and white space, all day long. And my school report showed that – "he daydreams too much" many teachers wrote – and I'm very glad that I did – of cows, milk and white space.
Were it not for the cows, I may have never become a designer.
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© GMD / 2017