Roger Dean

William Roger Dean (born 31 August 1944), known as Roger Dean, is an English artist, designer, and publisher. He began painting posters and album covers for musicians in the late 1960s. The groups for whom he did the most art are the English rock bands Yes and Asia. The covers often feature exotic fantasy landscapes. His work has sold more than 150 million copies worldwide. William Roger Dean was born on 31 August 1944 in Ashford, Kent. 

His mother studied dress design at the Canterbury School of Art before her marriage, and his father was an engineer in the British Army. He has three siblings, brother Martyn and sisters Penny and Philippa. Much of Dean's childhood was spent in Greece, Cyprus, and, from age 12 to 15, Hong Kong so his father could carry out army duties. Dean was very keen on natural history as a child, and Chinese landscape art and feng shui became particular influences on him during his time in Hong Kong. 

He has cited landscape "and the pathways through it" as his greatest influence and source of inspiration. In 1959, after the family had returned to England, Dean attended Ashford Grammar School, followed by his entry in 1961 to the Canterbury College of Art, studying silversmithing and furniture design, and graduated with a National Diploma in Design. He was removed from a life drawing class by the principal for being "young and impressionable." He was informed he could not take it due to maths and physics being his other subjects, leading to a switch to studying industrial design. 

As the school was trying to become accredited in the subject, Dean bypassed its foundation level course but disliked the way the subject was taught and questioned the teachers as to why people had to live in "boxes" and their response in that "form follows function." Towards the end of the course at Canterbury, Dean was faced with the option of pursuing either architecture or industrial design; one of his tutors thought neither was for him and recommended that Dean study at the Royal College of Art in London. 

He enrolled at the college in 1965 to study furniture design and became a student of Professor David Pye. Among his research was the "psychology of architecture" and what made people feel comfortable in buildings. He did a thesis about "producing a sense of tranquillity in domestic architecture." He graduated from the college in 1968 with a master's first-degree honors and won a silver medal for "work of special distinction." By this time, Dean was interested in "designing the future boxes for people to live in." 

He considered Rick Griffin's artwork for Aoxomoxoa (1969) by The Grateful Dead as his "first big visual shock" and bought the album prior to owning a record player. Among Dean's first successes was his sea urchin chair design which spawned from his research at the Royal College and was completed in 1967. He filed a patent for it in the following year. It has been considered to be a predecessor to the bean bag, whereby the chair compresses and fully adapts to the shape and size of the user. 

The design was completed when Dean was one of the few students picked from the Royal College to design and make objects in famed designer Cherrill Scheer's factory. The chair remains one of Cherrill's favorite pieces. It is now a part of the permanent collection at the Victoria and Albert Museum. In 1968, during his third year at the Royal College, Dean was assigned a project which involved the design of a contemporary landscape seating area of the upstairs disco at Ronnie Scott's Jazz Club in Soho. 

This led to the design of his first album cover, Gun (1968), by rock band Gun after owner Ronnie Scott asked him to adopt a demonic-themed design that Dean originally made in his sketchbook for his thesis for the album's cover. Dean agreed and was paid "around £5,000" for his work. Dean earned more money from the album's cover than he had done with architecture-related work and realized covers took much less effort. He decided to venture into the cover design not purely for the money but for its wider audience and its use "as a propaganda tool showing people what might be and what could be." 

Dean began to pick up work where he could, including covers for various jazz artists for Vertigo Records, which he disliked, calling them "austere exercises" and too restrictive for the ideas he wished to convey. The experience led Dean to establish a commission before starting work he wanted to do, leading to a short period of financial hardship. At the same time, he wanted to release a book on architecture but faced rejection from 27 different publishers.