Art and Industry 314, August 1952

Information

Content includes:
A Place for the Vulgar
Advertising that Advertises Charles F. Higham Ltd
Quantity Production to Hand-built Standards
Another Word about Colour
The Typographic Poster by Gerald Wilkinson
New Designs in Production and Project
The Merit of Minuscules by A. N. Daish
A New Type of Plastics Sign

Details

Linked Information

Art and Industry 314, August 1952
Art and Industry 314, August 1952
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
How design can transcend the logics, structures, and subjectivities of capitalism: a framework, theoretical grounding, and practical principles. A new book published by MIT Press written by Matthew Wizinsky.

Members Content

Volkswagen commissioned a fantastic range of graphic designers, including Wolf Zimmermann, Hans Looser and Michael Engelmann. The designers amplified the brand image of Volkswagen with strikingly modern designs.
The versatility of the arrow sign knows no bounds – from thin lines exuding delicacy to thick, heavy-set lines conveying stability and weight. Depending on its construction, the arrow sign can speak with individuality, even possessing psychological and emotional expression.
Ken was born in 1929, in Southampton and grew up in a small market town in North Devon. He was a principled man, with strong values and views against the hyper-consumerism we live with today. Ken studied at the London Central School of Arts and Crafts in the 1950s and was taught by Herbert Spencer, Anthony Froshaug and Jesse Collins. Whilst at the School he studied alongside designers Ken Briggs, Alan Fletcher and Colin Forbes.