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A year of evening classes, another on a Foundation course, and three years sharing a desk with new pal Neville Brody at the London College of Printing saw Wright enter the industry just as punk rock became new wave. In May 1980, The Face launched its first ever issue, and Wright’s work featured within. Mixing fashion, style and music with contemporary design, it was the perfect outlet for Wright’s fresh approach to image-making. His work, 23 years later, bears little resemblance to those early manic drawings, but the spirit within is just as visible.

Magee works at a prolific rate. He has to, fashioning two illustrations for The Guardian and one for The Observer every week of the year. But other commissions arrive on a regular basis. “I’ve always had a steady stream of work from the USA, having worked for The New York Times, Boston Globe and LA Times,” he says. ” But it’s the extra-curricular projects that keep Magee motivated. Currently in production is a short film about addictive behaviour on a deprived council estate. “I’m becoming more interested in making films.

This is a ready-built ‘shell’ with ActionScript and UI elements that you can slot your movie clips into. fla in Flash MX, go to the library and find our movie clip zoom_this (on the CD). To use your own map, replace the artwork in this clip with your own, then save the whole file under a new name. Use Control>Test Movie to try it out. A two-colour, black-to-white linear gradient is created by default. Click either colour to select, then edit it using any of the various methods available in the colour mixer.

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Computer Arts (August 2003)

by Charles

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