Feature: Design history
The image as evidence
The career of Germano Facetti is exceptional in its range. As art director of Penguin Book covers in the 1960s and as a designer, he was a powerful influence on book and information design, throwing a special light on Modern Movement aspirations and on attitudes to illustration. Facetti has maintained the concept of “documentary” and diagrammatic illustration to induce understanding, to express emotion, or to accumulate information in a more memorable way.
Political clout: Australian posters
Screenprints gave both activists and artists a means of direct expression
Revolutionary language
“A revolutionary graphic language must seek to expose the meaning by presenting a chain of ideas, images, structures in as much of their complexity as is economically feasible.” Robin Fior in The Designer, journal of the society of industrial artists and designers, London, May 1972.
The work must be read
Lawrence Weiner’s art is a kind of sculpture made of language, free from excess or embellishment and strangely familiar from its far-reaching influence on graphic designers
Punk uncovered: an unofficial history of provincial opposition
British punk gave a sound, a voice and a visual currency to the disenfranchised and remote. Overlooked, uncelebrated and difficult – the output of the anonymous artworkers who packaged the vinyl spewed out by punk’s first waves captured the oppositional (and occasionally political) spirit of the time. By Russell Bestley and Ian Noble.
Concrete poems just are
Concrete poetry never won full acceptance, despite the efforts of exponents all over the world. In the digital era its innovations are ripe for reassessment
23 Envelope: ambience and inner space
Operating undercover, using the enigmatic title of 23 Envelope, Nigel Grierson and his partner Vaughan Oliver created designs of exceptional power. Their work inspired the next generation of image-makers. By Rick Poynor
Visual prose
A Wealth Of caRefully flaggeD pages, the books collected by Peter Mayer contain a panoply of visual and verbal tricks, conjured by the authors themselves, playing eccentric games with space, structure and meaning, then painstakingly typeset to exPress fLux, sound, extrAvagant imagerY and the passage of time.
Reputations: Roman Cieslewicz
‘Posters are dying out. They need strong themes, which at present they lack. As a form of communication, they belong to another age’
Quiet spirit of joy
By championing pattern-making, art and ephemera, the Curwen Press brought a new ‘Comfy Modernism’ to commercial printing