Join the Mailing List

Membership

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

Art & Industry 296, February 1951

Information

Content includes:
Twentieth Century Craftsmen Editorial
Canada Advertises . by Clair Stewart
Art and the Music of Metal by G. H. Friese Green
Small City Store in Big City Style
Psycho-synthesis in the service of Advertising by S. P. Ir-Shay
Decorative Surfacing in Laminated Plastics
New Designs from the Factories
A New Book for Exhibitors

Details

  • Format: Magazine
  • Designer/s: Tom Eckersley
  • Year: 1951
  • 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 296, February 1951. Cover design by Tom Eckersley
Art & Industry 296, February 1951. 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
Eye, Issue 038, Winter 2000
From the design archive:

Eye, Issue 038, Winter 2000

  • Format: Magazine
  • Year: 2000
View Artefact
Art and Industry magazine July 1948
From the design archive:

Art and Industry magazine July 1948

  • Format: Magazine
  • Year: 1948
View Artefact
Museumjournaal, Serie 14 no 1, 1969. Design by Jurriaan Schrofer
From the design archive:

Museumjournaal, Serie 14 no 1, 1969

  • Format: Exhibition Catalogue
  • Designer/s: Jurriaan Schrofer
  • Year: 1969
View Artefact
Strathdon, Wiggin Teape (Merchants Ltd), c.1960s
From the design archive:

Strathdon, Wiggin Teape (Merchants Ltd), c.1960s

  • Format: Paper Sample Book
  • Designer/s: Not Stated
  • Year: c.1960s
View Artefact

view more of the graphic design archive

More graphic design history articles
Idea 81, 1967. Cover design by Yusaku Kamekura
  • Design Archive Feature

Elements of Idea “The Arrow” by Shigeo Fukuda, 1973

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.

Members Content

Scan 482 copy
  • Design Archive Feature, Members Only Content

Posters and Publicity by Ken Briggs and Ian McLaren

Ian McLaren and Ken Briggs produced exceptional work for a range of clients in the arts and culture sector. Their client included CND (Campaign for Nuclear Disarmament), The National Theatre and the Arts Council.

Members Content

50 years Bauhaus, German exhibition, Royal Academy of Arts, London, 1968
  • Design Archive Feature, Members Only Content

Bauhaus Principles Today

The Bauhaus approach to design emphasised simplicity, functionality, and the integration of modern technologies and materials. A century later, many of the principles taught at the school remain fundamental to contemporary design practices.
Oskar Reiner, Automotive Publicity Cover
  • Design Archive Feature

Oskar Reiner’s, Automotive Publicity by Carl Heussner, 1962

Oskar Reiner advertisements for Opel distinguish themselves by clarity and visually appealing conception.