A TYPOGRAPHIC SURREALIST

A typographer of outstanding ability, he was described in 1941 as “best known of all definitely non-traditional  typographers and designers of printing, he might be called in a sense ‘a typographical surrealist.’”  Later in 1952, again in Graphis magazine appeared an article:  “The redesigning of well-known journals and magazines with which Lester Beall was entrusted by their publishers has had a deep influence on typography in the U.S.A.  Only those who are familiar with the conservative prejudices of the literary, technical and scientific press can fully appreciate this achievement, which amounts to the aesthetic re-education of the whole staffs of the journals concerned, from the publishers themselves to the compositors, not forgetting the readers.  Beall has something in common with the pioneers who discovered the American west and utilized  and developed what they found there to their own ends.  Like them he will never  be satisfied with what he has accomplished, but will always be searching for other ways of combining the new and the useful.”  Of interest in this field were a series of twenty McGraw-Hill publications which he redesigned.  Lester was also art director and designer for “Scope,” the chemical and pharmaceutical advertising periodical published by the Upjohn Co.  He began this series early in 1944 with the March issue and continued the project through May 195l.  Graphis magazine in 1946 referring to his association with this project says:  “It is rare to find the sense for accurate representation united with artistic insight, which has led to such stimulating results – The collaboration of scientists, technicians and photographers finds in Beall’s work a visual expression which affords evident proof of his strong hand.—His title pages for Scope compare with the avant-garde of the fine arts.”  Lester was also art director and designer for “What’s New”, the Abbott Laboratories house organ.

He remained in Chicago until 1935, at which time he moved to the east coast setting up his studio in New York City, establishing his home in Wilton, Connecticut.  Upon moving from Wilton to Brookfield Center in 1950, he came closer to expressing a way of life in which he could work in an environment of his choice.  The property – the home, acquired the name of Dumbarton Farm, a practice established some years before and always associated with his place of residence.  The remodeling of the barns began soon after the move.  Lester, with our son, Lester, Jr., helping him as he could, did much of this work themselves.  The barns were to house the design studio, along with the farm animals, always primarily purebred Cheviot sheep.

THE WAY A MAN LIVES

In 1952, he established offices at Dumbarton Farm and divided his time between the New York and the Brookfield Center office.  In 1955 t he New York City office consolidated with the Brookfield Center office at Dumbarton Farm, the barns further developed with increased facilities and an enlarged staff.  At this time Lester said, “There were a number of reasons why this move was made:  the obvious reason of canceling out the commuting every day, but also by living and working in the country I felt I could enjoy a more integrated life, and although I still need the periodic stimulation of New York City, the opportunities of creative activity in an area of both beauty and tranquility seemed to me to far exceed anything that a permanent studio and residence in New York City might offer—The way a man lives is  essential to the work he produces.  The two cannot be separated.”

Prior to 1937, Lester had always worked alone, but from 1937 he employed a staff, varying in number from one to six.  This gave him the opportunity of training young designers while at the same time stimulating them to think and create for themselves.  It has always been of the greatest importance to Lester to maintain a small design group, for  he took a personal interest in all that was done there, insisting on participating, directing and approving personally all that was accomplished.

Shortly after moving to New York in 1935 he for the first time worked on packaging projects.  As time passed he became increasingly more interested in packaging design.  This led eventually toward integrated design programs for large business firms.  His approach to packaging was based on the premise that a package design was only a part of an inter-related series of merchandising and marketing problems—that no specifically isolated facet could, or should be disassociated from the overall problem itself.  Lester’s work for industry has included:  packaging, trademark, integrated corporate identification programs, product styling, exhibits, and the graphics of advertising and printed literature.