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Romek Marber (1925  -2020) had
a long and distinguished career
in the graphic arts and education,
and influenced British culture in
the late twentieth century. Photo © Marc French

Lighting

Romek was not primarily a typographer. He was first of all an image‑maker, as this lighting catalogue cover and his early, high‑profile designs for The Economist reveal. Rick Poynor, Professor of Design

Economist
Penguin

Romek refined this skill in his provocative covers for Penguin. Decades later, his work still exemplifies what we mean by ‘graphic thinking’. Rick Poynor, Professor of Design

Penguin stairs
Observer

Whether working exclusively with type, with a mixture of words and symbols, photographs or other visual props, Romek had a knack for encapsulating an editorial idea in a punchy graphic image. Rick Poynor, Professor of Design

New Society

Romek was one of the few graphic designers who was both an illustrator and photographer. His conceptual illustrations provided fresh perspective on major political and current affairs.

War Game
Play

When Marber created a trailer for The War Game, banned by the BBC, he melted the words into a shape disturbingly reminiscent of a mushroom cloud. His designs have bite. Rick Poynor, Professor of Design

Education

Romek had such an incredible and full life that really we just have to thank him, for not only enriching our lives but for also transforming the nature of graphic design education and its impact across the industrial world. Peter Green, Emeritus Professor

No Return

Romek’s life story speaks for the
countless numbers of those who
endured unspeakable horrors, for
whom there could be no return. Richard Hollis
Now out of print it, was Romek’s
wish that ‘No Return’ would remain
accessible to the wider public.
Read it here

Bruce

Romek’s extraordinary life saw him through times of unprecedented change that conspired to radically alter the face of Europe – his exceptional talent went on to make a vital contribution to British visual culture. If design, as many would claim, is a profession of optimism then Romek Marber is one of its giants. Despite everything, he worked for the making of a kinder, fairer and better world for which he carried no ill will and retained the enduring sense of wonder that makes good design possible. Bruce Brown, Emeritus Professor

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Home Page
Home Page Text

Romek Marber (1925  -2020) had a long and distinguished career in the graphic arts and education, and influenced British culture in the late 20th century. Photo © Marc French

Lighting
Lighting Text

Romek was not primarily a typographer. He was first of all an image‑maker, as this cover for a lighting catalogue and his early, high‑profile designs for The Economist reveal. Rick Poynor, Professor of Design

Economist
Penguin Text

Romek refined this skill in his provocative covers for Penguin. Decades later, his work still exemplifies what we mean by ‘graphic thinking’. Rick Poynor, Professor of Design

Penguin
Penguin stairs
Observer Text

Whether working exclusively with type, with a mixture of words and symbols, photographs or other visual props, he had a knack for encapsulating an editorial idea in a punchy graphic image. Rick Poynor, Professor of Design

Observer
War Game Text

When Marber created a trailer for The War Game, banned by the BBC, he melted the words into a shape disturbingly reminiscent of a mushroom cloud. His designs have bite. Rick Poynor, Professor of Design

War Game
Play
New Society Text

Romek was one of the few graphic designers who was both an illustrator and photographer. His conceptual illustrations provided fresh perspective on major political and current affairs.

New Society
Education Text

Romek had such an incredible and full life that really we just have to thank him, for not only enriching our lives but for also transforming the nature of graphic design education and its impact across the industrial world. Peter Green, Emiritus Professor

Education
No Return Text

Romek’s life story speaks for the countless numbers of those who endured unspeakable horrors, for whom there could be no return. Richard Hollis, designer
Now out of print it, was Romek‘s wish that ‘No Return’ would remain accessible to the wider public. Read it here

No Return

No Return by Romek Marber

Bruce

Romek’s extraordinary life saw him through times of unprecedented change that conspired to radically alter the face of Europe – his exceptional talent went on to make a vital contribution to British visual culture. Bruce Brown, Emeritus Professor

Bruce

If design, as many would claim, is a profession of optimism then Romek Marber is one of its giants. Despite everything, he worked for the making of a kinder, fairer and better world for which he carried no ill will and retained the enduring sense of wonder that makes good design possible. Bruce Brown, Emeritus Professor

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Voice

Listen to Romek
I was totally disinterested in politics, anything was better than my immediate past. So, I looked at what I had as wonderful. I had this rather optimistic outlook that I retained throughout my life.
Now, my outloook has not changed. Romek in conversation with Orna, July 2018

Op-Art-with-Romek-face-squared
Life with Dennis
Romek Penguin

I began by reading every book and would come across some descriptive text that immediately suggested itself as the illustrative part of the cover – I could actually visualise a picture. How to achieve what I intended to do was another thing. An illustrator takes a pen and knows more or less what they want to do and then draws. With my work I had to get props, take the photos, and then begin to experiment and manipulate the picture. Romek in conversation with Orna, July 2018

tree
ABCXYZ 1000

If a designer has too much time or hasn’t yet developed a sense of knowing when to stop they can 'flog something to death’. They could have something good, but if you don’t make up your mind or take a decision to stop, you can squeeze out every bit of excitement and humanity. Romek Marber

Cunic
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previous arrowprevious arrow
Voice

Listen to Romek
I was totally disinterested in politics, anything was better than my immediate past. So, I looked at what I had as wonderful. I had this rather optimistic outlook that I retained throughout my life. Now, my outloook has not changed. Romek in conversation with Orna, July 2018

Op-Art-with-Romek-face-squared
Life with Dennis
Romek Penguin

I began by reading every book and would come across some descriptive text that immediately suggested itself as the illustrative part of the cover – I could actually visualise a picture. How to achieve what I intended to do was another thing. An illustrator takes a pen and knows more or less what they want to do and then draws. With my work I had to get props, take the photos, and then begin to experiment and manipulate the picture. Romek in conversation with Orna, July 2018

tree
Stop Text

If a designer has too much time or hasn’t yet developed a sense of knowing when to stop they can ‘flog something to death’.
They could have something good, but if you don’t make up your mind or take a decision to stop, you can squeeze out every bit of excitement and humanity. Romek Marber

ABCXYZ 1000
Cunic
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