![]() Goines’s 1982 book, “A Constructed Roman Alphabet: A Geometric Analysis of the Greek and Roman Capitals and of the Arabic numerals,” is a touchstone for graphic designers it won the American Book Award for typography in 1983. His marriages to Sarah Leverett, Edie Sei Ichioka and Sophie Aissen ended in divorce. He is survived by his brothers, Lincoln, Lawrence and Daniel, and a stepdaughter, Cybele Leverett. It was his mother who taught him hand-lettering and was, he often said, his biggest influence. His father, Warren Goines, was a civil engineer his mother, Wanda (Burch) Goines, was an artist and calligrapher who sent her children to school with their names elegantly rendered on their lunch bags. “Of course, you can’t wear bluejeans to the opera,” he said, “but I’ll let somebody else design evening wear.”ĭavid Lance Goines was born on May 29, 1945, in Grants Pass, Ore., the oldest of eight children, and grew up in Fresno and Oakland, Calif. He likened his work to a pair of bluejeans, meant for everyday use. Jerome, otherwise known as Eusebius Hieronymus, the patron saint of librarians and scholars). Goines collected the illustrations in a book, “Thirty Recipes Suitable for Framing,” and with the proceeds he bought the Berkeley Free Press, which he renamed the Saint Hieronymus Press (a homage to St. Together they wrote a cooking column, called Alice’s Restaurant, for the counterculture newspaper the San Francisco Express Times, incorporating recipes she had adapted from friends and his block prints, which often had nothing to do with the recipe they accompanied (a medieval castle and knight above marinated tomatoes, for example). Goines wooed her with his calligraphy - gorgeous hand-lettered notes and illustrations - and she soon moved in with him. Waters was working for the left-wing journalist Robert Scheer’s failed campaign for Congress in 1966 when she walked into the print shop to order leaflets. ![]() Goines and most of his colleagues demurred.īefore long he was running his own print shop with Tom Weller, a graphic designer who went on to make psychedelic posters and album covers for Country Joe and the Fish. The League invited the staff to its weekly orgies, but by his account Mr. Goines designed its letterhead, appropriating Albrecht Dürer’s engraving of Adam and Eve. The press also did work for pornographers, arcane religious sects and an organization called the Sexual Freedom League - Mr. “The antiwar and civil rights movements kept us running at full capacity.” Goines wrote in his account of the times, “The Free Speech Movement: Coming of Age in the 1960s,” published in 1993. “The revolution ran on paper and ink and the BFP was where it all came from,” Mr. He was thrilled, too, to have been thrown out of school, which he hated, and by the art of printing, which he learned as an apprentice at the Berkeley Free Press, a small publishing house and haven for radicals dedicated to producing material for all sorts of political groups. He was proud to say he was arrested 14 times in the ’60s. The sit-in there made national news when nearly 800 students, Mr. He was a classics major swept up in the politics of the time, and when he and others were threatened with expulsion for handing out political leaflets on campus, it galvanized more than a thousand students to take over Sproul Hall, where the administration offices were. ![]() It was an earlier protest, the Free Speech Movement, which erupted on the Berkeley campus in 1964, that set him on his path. His powerful response to the 1991 Persian Gulf war - a faceless soldier in camouflage holding a skull, titled “No War” - is in the permanent collection of the Los Angeles Museum of Contemporary Art. His distinctive images and lettering, inspired by German Art Nouveau and Japanese woodblock prints, among other influences, and refracted through his own fastidious sensibilities, appeared on Chez Panisse matchbooks, menus, cookbooks and the posters he made every year to celebrate the restaurant’s anniversaries. ![]() He said the woman was nobody in particular: an embodiment of romance drawn from his imagination. Goines’s signage for Chez Panisse, starting with the flame-haired woman with the plume of feathers he created for the poster announcing the now-storied restaurant’s opening in 1971, became emblematic of its visual identity and earthy, bohemian ethos. ![]() The cause was complications of a stroke, a niece, Hannah Hoffman, said. David Lance Goines, the graphic artist and printmaker whose evocative posters helped define the aesthetic of Berkeley’s counterculture, beginning with his sensuous images for Chez Panisse, the artisanal French restaurant opened by Alice Waters, a former girlfriend, died on Feb. ![]()
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