This remarkable volume is a collection of eleven essays and shorter articles which for the first time provide rich contexts – social, cultural, and political – for graphic design in Britain. Reaching from the Second World War to the early 1970s, they fizz with provocative interconnections: between print culture, photojournalism and publishing, the London of émigrés, political meetings and demonstrations, cultural cafés and art schools. From these disparate milieux emerged new ideas about designing: configuring and picturing the world of facts and processes, shaping them for understanding, learning, and action. Presented here are documents of the nation’s life in war, its reconstruction through the passages from scarcity to plenty, the seeds of later fragmentation, always fertile with multiple intersections between biography and history.

A brisk tour through the history of Western typography, from the time (c.1700 in France and England) when it can be said to have become ‘modern’. A spotlight is directed at different cultures in different times, to trace the developments and shifts in modern typography. Attention is given to ideas, to social context, and to technics, thus stepping over the limited and tired tropes of stylistic analysis. This is a reprint of the second edition, which has some variations in the pictures as well as corrections and updatings in the text.

Our edition of this book has now been taken over by Éditions B42. Go here.
[September 2019]

Richard Hollis was the graphic designer for London’s Whitechapel Art Gallery in the years 1969–73 and 1978–85. In this second period, under the directorship of Nicholas Serota, the gallery came to the forefront of the London art scene, with pioneering exhibitions of work by Georg Baselitz, Anselm Kiefer, Joseph Cornell, Philip Guston, Frida Kahlo and Tina Modotti, among others. Hollis’s posters, catalogues, and leaflets, conveyed this sense of discovery, as well as being models of practical graphic design. The pressures of time and a small budget enhanced the urgency and richness of their effects. Christopher Wilson’s monograph is an exemplary examination of a body of graphic design. This book matches the spirit of the work it describes: active, passionate, aesthetically refined, and committed to getting things right. As in Hollis’s work, ‘design’ here is a verb as much as a noun.

The work in graphic communication carried out by Otto Neurath and his associates – now commonly known simply as Isotype – has been the subject of much interest in recent years. Conceived and developed in the 1920s as ‘the Vienna method of pictorial statistics’, this approach to designing information had from its inception the power to grow and spread internationally. Political developments in Europe played their part in its development, and production moved to the Netherlands (1934) and to England (1940), where the Isotype Institute continued to produce work until 1971. Bringing together the latest research, this book is the first comprehensive, detailed account of its subject. The Austrian, Dutch, and English years of Isotype are described here freshly and extensively. There are chapters on the notable extensions of Isotype to Soviet Russia, the USA, and Africa. Isotype work in film and in designing for children is fully documented and discussed. Between these main chapters the book presents interludes documenting Isotype production visually. Three appendices reprint key documents. In its international coverage and its extensions into the wider terrain of history, this book opens a new vista in graphic design.

We are publishing here materials from the ‘Typeform dialogues’ project carried out at Central Saint Martins College of Art & Design, London, in 1994–8 and afterwards. This is the second edition of the document first published on this website in 2012. The main change in this new edition is the addition of essays by Eric Kindel (‘Eminents observed’) and Catherine Dixon (‘Systematizing the platypus’). As in the first edition, the document contains the User’s Manual for the CD-based interface, which was the project’s main focus, together with various supporting materials that describe the project. The work is edited by Eric Kindel, with contributions throughout from Catherine Dixon.