Content includes:
About Typos – Fred Lambert
Total Design of Amsterdam – Huib van Krimpen
Typography and Symbolism – Clive Ashwin
Matrix Making and Type Design 1900-13 – John Dreyfus
The use of Photographic Images – Armin Hofmann
A Deck of Cards
The Designer’s Grid – Allen Hurlbert
From Craft to System – Alan Bartram
Edward Johnston – Barney Somers
New Johnston – Colin Banks
Lou Dorfsman – Allen Hurlbert
Oliver Simon: An English Typographer – Basil Harley
Bi-lingual Typography – Maldwyn Williams
From the graphic design archive:
From the graphic design archive:
From the graphic design archive:
From the graphic design archive:
Design Archive Feature, Designer Profiles, Magazines & Publishing, Members Only Content, Regional Histories
Many influential British designers have made their names in the history books. Abram Games, Alan Fletcher, Tom Eckersley and Derek Birdsall, to name a few. But one designer that has always influenced me, not only as inspiration from their design output, but as an example of the role of a designer and the importance of having strong ethics, is Ken Garland. He is known for his innovative and socially responsible approach to graphic design and his involvement in the design community through his teaching, writing and activism. In the second instalment of this series, I will discuss Ken Garland's magazine work from my collection.
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Design Archive Feature, Members Only Content, Poster Design, Regional Histories
One of the main features in Gebrauchsgraphik 08, 1963 is focused on the 1962/63 annual poster awards in Germany. Over twenty posters were awarded by the Association of German Commercial Artists.
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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.
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