Design, Council of Industrial Design, 233, May 1968

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Content includes:
Breaking down the barriers
The Duke of Edinburgh’s Prize for Elegant Design
ColD Design Awards: consumer goods: Hull Traders fabrics, Hille table, Perspective Designs furniture, William Plunkett chair, William Plunkett table, Sealmaster door and window seals, Merchant Adventurers light fitting, Wrighton kitchen furniture, Rotaflex Concord lighting, Clamcleats, Heal’s fabrics, London & Provincial poster display
ColD Design Awards: capital goods: Rolls-Royce shunting locomotive, Ernest Scragg crimping machine, Marconi colour tv camera, Mather & Platt AC motors, Stothert & Pitt dockside crane, Fenner worm gear reducer
Gordon Russell today by Coin Hughes-Stanton
Setting for by José Manser
Blow-up structures
Projects and developments
Products, interiors, events, ideas

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Design, Council of Industrial Design, 233, May 1968. Cover photo by Ray Dean
Design, Council of Industrial Design, 233, May 1968. Cover photo by Ray Dean
More graphic design artefacts
From the design archive:
From the design archive:
From the design archive:
From the design archive:
More graphic design history articles
Every year the 20 best posters are selected in Germany and once more brought to the attention of the public. We do not publish all the twenty posters today; instead we add some which failed to be distinguished and which nevertheless are distinguished.
The first American university to accept graphic designers as members of the faculty was the Massachusetts Institute of Technology, called M. I. T, for short. The work created by the design group reflects the high level of instruction, the realistic setting of the training and the progressive philosophy of this institute.
In the ambitious new monograph Rational Simplicity: Rudolph de Harak, Graphic Designer, Volume shines a light on the complete arc of the exceptionally rich and varied career of Rudolph de Harak, showcasing his vibrant, graphic, formally brilliant work, which blazed a colourful trail through the middle decades of the twentieth century.

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Crouwel was the successor to Willem Sandberg who used an avant-garde approach in his work, utilising torn-paper montage, mixing of sans serif and old Egyptian typefaces and often off-center positioning. Crouwel steered away from this artistic approach and implemented a cohesive design system and a strong identity that emulated the corporate identity boom of the 1950s and 60s.