Join the Mailing List

Membership

Graphic Design History from Design Reviewed
Tom Eckersley - British Graphic Designer

Art & Industry 291, September 1950

Information

Content includes:
Old Wine in New Bottles by M. C. Farrar Bell
Chasing the Dollar at 125 m.p.h.
Taking their Own Medicine by René Elvin
Industrial Design Competition No. VILI
Corduroys or Boiler Suit ? by W. N. Duffy, M.S.I.A.
New Designs from the Factories
Knock-down Furniture in Local Woods

Details

  • Format: Magazine
  • Designer/s: Tom Eckersley
  • Year: 1950
  • Client/Publisher: The Studio Ltd
  • Size: 195mm X 250mm
Tom Eckersley was born in Lowton, Lancashire, in 1914 and studied at Salford College of Art. He began his first career in London, together with Eric Lombers in 1935, designing for London Transport, Shell Mex, BBC, General Post Office and many other important companies.  Eckersley was a member of the Society of Artists and Designers and a Royal Designer for Industry and the Society of Typographic Designers. As well as a designer, he was head of the Department of Design, London College of Printing, and a member of the graphic judging panel for the diplomas in Art and Design.

Linked Information

Art & Industry 291, September 1950. Cover design by Tom Eckersley
Art & Industry 291, September 1950. Cover design by Tom Eckersley
Tom Eckersley was born in Lowton, Lancashire, in 1914 and studied at Salford College of Art. He began his first career in London, together with Eric Lombers in 1935, designing for London Transport, Shell Mex, BBC, General Post Office and many other important companies.  Eckersley was a member of the Society of Artists and Designers and a Royal Designer for Industry and the Society of Typographic Designers. As well as a designer, he was head of the Department of Design, London College of Printing, and a member of the graphic judging panel for the diplomas in Art and Design.
More graphic design artefacts
letterproef: drukkerij en uitgeversbedrijf, Type Specimen, c. 1980
From the design archive:

letterproef: drukkerij en uitgeversbedrijf, Type Specimen, c. 1980

  • Format: Type Specimen
  • Year: Circa 1980
View Artefact
Novum Gebrauchsgraphik, 2, 1976. Cover design by Gebhardt + Lorenz
From the design archive:

Novum Gebrauchsgraphik, 2, 1976

  • Format: Magazine
  • Designer/s: Gebhardt + Lorenz
  • Year: 1976
View Artefact
Design, Council of Industrial Design, 207, March 1966
From the design archive:

Design, Council of Industrial Design, 207, March 1966

  • Format: Magazine
  • Year: 1966
View Artefact
Architectural Design, June 1967. Cover image by Josef Albers
From the design archive:

Architectural Design, June 1967

  • Format: Magazine
  • Designer/s: Josef Albers
  • Year: 1967
View Artefact

view more of the graphic design archive

More graphic design history articles

Members Content

Graphic Design 30, 1968 | Ikko Tanaka | Japanese Magazine
  • Design Archive Feature, Members Only Content

Japanese Modernism

Japanese modern design was heavily influenced by European art movements, particularly modernism and the Bauhaus school. As Japan's advertising industry expanded, it increasingly drew from Western culture, especially television and film, resulting in designs that were eclectic, vibrant, and infused with modernist energy.
Mark_Bloom_landscape copy
  • Designer Interview

Designers and Books Series – Mark Bloom

Mark Bloom has designs for globally recognised brands, produces some of the finest, most accessible modern typefaces and heads up Mash Creative and CoType Foundry. His type foundry has always been a port of call for our studio's brand projects and he continues to develop these, each with a fantastic print specimen.
Rudolph de Harak - Rational-Simplicity
  • Design Books

Rational Simplicity, the first major monograph of Rudolph de Harak by Richard Poulin

"Rudy is one of the unsung pioneers of American mid-century modernist graphic design. He had a unique and definitive point of view that was really never celebrated. This may have been attributed to his strict adherence to the formal principles of modernism and the International Typographic Style."

Members Content

Kupka, Stedelijk Museum, Amsterdam, 1968 designed by Wim Crouwel (Total Design)
  • Design Archive Feature, Members Only Content

Wim Crouwel and the Stedelijk Museum

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.