Steven Cook - Biography

Biography

Cook is an alumnus of the College of Distributive Trades before it became a part of the London College of Communication. He initially worked as a display artist for leading department stores before taking on the role of stylist for Carlton Photographic Studios in London where he realised his passion for photography. This was followed by a stint in a small advertising agency in Surrey as photographer and graphic designer, working on ads and concert programmes for musicians Gary Numan and The Boomtown Rats. During this time he was also moonlighting as a house photographer for a circuit of prestigious restaurants and clubs in Knightsbridge and the West End, being on hand to photograph their celebrity clientele. A chance meeting with British photographer Bruce Fleming gave Cook the opportunity to assist and learn from this respected artist, best known for his classic images of Jimi Hendrix in the 60s.

In 1983, Marvel UK’s Alan McKenzie, who was editor of the long-running Starburst magazine hired Cook as photographer and designer. Cook became art editor in 1985 and completely redesigned the title, giving it a logo that was in use for 24 years. He followed this with a revamp of Doctor Who Magazine and as its new art editor, came to an arrangement with Marvel and Doctor Who’s producer John Nathan-Turner to freelance as photographer on set, supplying exclusive images for the magazine.

The next commission from Marvel saw Cook combine his skills as stylist and photographer to produce the cover images for another of their licensed magazines, Hasbro’s Sindy. Having previously styled mannequins during his window display period, Cook set about re-defining doll photography by shooting outdoors on-location, thereby pre-empting the “Blythe” series by 14 years. This was followed by a commission from Hasbro themselves to produce a “Cook style” Sindy cover for their 1988 catalogue.

In that same year, Alan McKenzie, who was now working on Fleetway’s 2000 AD, recommended Cook as designer for their new-look that was being planned. After submitting a few preliminary ideas he was taken on to completely re-vamp the title giving it the logo that has since become its brand identity. He also assimilated Japanese and Thai typography into the design aesthetic as a pre-cursor to the Manga craze.

In 1988, Fleetway’s Steve MacManus commissioned both Cook and Rian Hughes to design a new title that was to be called 50/50. The design duties were split so that they would each design half of the comic, Cook responsible for The New Statesmen and Hughes the Third World War. This title later became known as Crisis and forged a strong alliance between Cook and Hughes who, between them were designing most of the British comics and graphic novels of this period.

As well as the design for New Statesmen, Cook hired fashion designers to style the clothing of the characters in the strip, which was a first for British comics.

During this period 1988 - 89, known as the Second Summer of Love, Cook was also doing editorial shots for Deadline magazine, working for Rhythm King Records and designing for William Orbit and his new label Guerilla Records, for whom he produced a distinctive blue camouflage sleeve influenced by a Thai Air-force shirt that he’d found on his travels in South-East Asia.

1996 saw Cook producing his first digitally manipulated photographs for the covers of Manga Mania magazine. There were concerns by the publishers that his imagery looked more suitable for Skin Two magazine, which became even more evident when Cook was commissioned by Skin Two themselves to produce a cover and fashion feature with his collaborators, Alexander Brattell and Grant Morrison. The subsequent ‘Story of Zero’ was nominated for an Erotic Oscar in 1999.

Diametrically opposed to this, Cook was back on the dolls again producing elegantly styled and manipulated photographs for Egmont’s Barbie Magazine to which he contributed more than 60 covers.

Continuing as art director for 2000 AD until 2001 he consistently updated the look of the title commissioning Rian Hughes to design several exclusive fonts, which alongside Cook’s graphic style gave it a unique identity on the newsstands.

Cook also appeared in the 2010 documentary Grant Morrison: Talking with Gods.