Career
Aldridge first worked as an illustrator at "The Sunday Times Magazine.'' After doing some freelance book covers for Penguin Books, he was hired in March 1965 by Penguin's chief editor Tony Godwin to become the art director of Penguin Books. Over the next two years as art director, he especially focused on science fiction book covers and introduced his style which resonated with the mood of the time. In 1968 he moved to his own graphic-design firm, INK, which became closely involved with graphic images for the Beatles and Apple Corps.
During the 1960s and 1970s he was responsible for a great many album covers, and helped create the graphic style of that era. He designed a series of science fiction book covers for Penguin Books. He made a big impression with his illustrations for the Beatles Illustrated Song lyrics. He also provided illustrations for "The Penguin Book of Comics", a history of British and American comic art. His work was characterised by a flowing, cartoony style and soft airbrushing - very much in step with the psychedelic styles of the times. In the theatre, in February 1969 he designed the graphics for controversial Jane Arden play Vagina Rex and the Gas Oven at the London Arts Laboratory, Drury Lane.
He is possibly best known, however, for the picture book The Butterfly Ball and the Grasshopper Feast (1973), a series of illustrations of anthropomorphic insects and other creatures, which he created in collaboration with William Plomer, who wrote the accompanying verses. This was based on William Roscoe's poem of the same name, but was inspired when Aldridge read that John Tenniel had told Lewis Carroll it was impossible to draw a wasp in a wig.
Aldridge also created the artwork for Captain Fantastic and the Brown Dirt Cowboy by Elton John in 1975.
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