
by Rick Poyner (Author)
‘The last twenty-five years have seen profound changes in the field of graphic communication. One by one, the old certainties about the techniques and pruposesof graphic design have been questioned and torn apart. With the international take-up of the new technology in the 1990s, there was an explosion of creativity in graphic design, as designers and typographers reassessed their role, jettisoned existing rules and forged experimental new approaches. Graphic work became more self-expressive, idiosyncratic and sometimes extreme. No More Rules tells this story in detail, breaking down a broad and sometimes confusing field of graphic design activity into key developments and themes, such as the American new wave; punk and its aftermath; deconstructionist theory and design; the digital type revolution; typography grunge; graphic authorship and graphic agitation; retro and the vernacular; and recent new conceptual approaches to design. Each theme is illustrated by significant examples of work produced between 1980 and 2000 that have changed the way in which designers and their audiences think about graphic communication.’

From the graphic design archive:
From the graphic design archive:
From the graphic design archive:
From the graphic design archive:
Helmut Schmid Typography explores the typographer’s oeuvre in its entirety. The book’s generous design allows each image to breathe, and the accompanying texts narrate Schmid’s life and career in an informative and pleasant manner.
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Design Archive Feature, Ephemera, Members Only Content, Regional Histories
Both the And So To Embroider & And So to Sew bulletins were published by the Needlework Development Scheme. Established in 1934 and operating until 1961, the scheme was a partnership between educational establishments (Scottish art schools, Aberdeen, Dundee, Edinburgh and Glasgow) and industry.
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Corporate Identity & Branding, Design Archive Feature, Members Only Content, Regional Histories
Giovanni began his work with Olivetti in March 1938, and his work was showcased in various exhibitions and had a clear distinctive style that amplified the Olivetti brand image. His design defined the company’s visual image, and the iconic geometric designs are still as powerful and engaging today as they were in the 1950s.
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