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Content includes:
Introduction
Part 1: Typography of This Century Supervision: Ruki Matsumoto, Visuals from: Ruki Matsumoto Collection, Batsu Art Gallery
Futurism – A Germ of Modern Typography Catherine Burer
De Stijl – A Balance of Contrasts Max Bruinsma
Constructivism – A Vision of Reality Max Bruinsma
Bauhaus – A Form of Function Catherine Burer
Neue Grafik Catherine Burer
Psychedelic Movement Noi Sawaragi
Part 2: The Cutting Edge of Typographical Design
The Talks with Paul Rand, Reprinted from “Type Talks” magazine, 1989 Fall issue
What does typographic design mean to you? 1 Siegfried Odermatt / Rosmarie Tissi / Takenobu Igarashi / Wild Plakken / Bruno Monguzzi / Max Kisman / Nikulaus Troxler / Koichi Sato
What does typographic design mean to you? 2 Makoto Saito / Uwe Loesch / Gunter Rambow / Roger Pfund / Ralph Schraivogel / Gan Hosoya / Kiyoshi Awazu / Shinro Ohtake
In Conclusion

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Idea 256, 1996-5. Cover design by Jonathan Barnbrook
Idea 256, 1996-5. Cover design by Jonathan Barnbrook
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
I have been reproached for this, and I will surely be reproached again. I have also been reproached for reading more and more obscure works whose readership must be limited to a handful of specialists and a few hobbyists like myself. It’s a heavy passion or a passion that sucks.
Parallel Public is a new publication by Sara Blaylock, published by MIT Press. The book documents the East German artists pioneering work that made their country’s experimental art scene a form of (counter) public life.
Last month (March 2022), I spoke to over fifty Graphic Design undergraduates about the archive and my passion for design history, after which the students had full access to items in the collection and participated in discourse amongst their peers and lecturers. As part of their critical studies unit, the students will be producing essays and content related to the impact, history and aesthetics of selected artefacts.

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A total of 24 posters were created for the campaign during 1964, using the arrow symbol as a key features, representing power, motion and speed. The handmade lithographs use up to 19 colours, which were individually printed at large scale. The posters also utilise the brand colours red and yellow from Shells corporate identity.