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Design Management

May 24, 2009 by Roy Johnson

managing design strategy, processes and implementation

This new title from publishers AVA deals with the business aspects of design projects. I imagine the ideal readers would be students of design who were taking a serious interest in applying their theoretical skills to the practical demands of applying them in the world of commerce and manufacturing. The structure of the book follows that outlined in its sub-title – one section each on design strategy, then managing the design process, and finally design implementation. Each section is split into the knowledge required, a selection of case studies, and an outline of the skills needed for implementation. There is an underlying supposition that in addition to aesthetics, good design management will also take into account profitability, functionality, and even ecological issues.

Design ManagementSo it’s design with very much a practical business slant in mind. There’s an illustrated timeline of design which starts at 1759 with Josiah Wedgwood, then takes in most of the best-known names in design – from Peter Behrens, Moholy-Nagy, Raymond Loewy, Charles Eames, and Viktor Papanek, to the establishment of the design standards which have blossomed in the last ten years.

Although design is approached in the text as if it were a science or even a branch of sociology, it’s quite clear that a lot of it is connected with marketing and publicity – though at least Kathryn Best admits this by discussing such issues as ‘audience’, ‘market’, and ‘product life cycle’.

The case studies are interesting, well illustrated, and up to date – including for instance the Oyster smartcard for travel in London which eliminates the need for paper tickets, reduces queues, and keeps cash off the buses. She also has no problem illustrating all the positives of a company brand such as Apple with its iconic iPod (designed by UK’s Jonathan Ives).

The extended analysis of real-world examples range from thermal imaging devices (heat cameras) to Camper shoes, and from ecological architecture to a new Honda motor scooter. There are also interviews with leading designers from companies such as Yahoo and the National Health Service.

There’s a certain amount of idealisation in all this. Only projects launched by huge companies like AEG, Phillips, and Sony could afford such comprehensive planning of its developments. I’m sure that the majority of design projects have to make do with fewer staff and resources, and a shoestring budget compared with the methods being proposed here.

However, there are plenty of flow diagrams showing the stages of these ideal procedures – so anybody can see the models of good practice and adapt them for their own circumstances. There are also guidance sections on team working and managing creative designers. These include non-hierarchical systems of working and, it would seem, working conditions and design studios straight from the pages of Architecture Today.

The last section on project management in practice is closer to ‘management studies’ than to design. It reinforces the ideas mapped out recently by Chris Anderson in his influential essay The Long Tail – that manufacturers today are reducing their costs and increasing their performance by carrying the minimum of stock, delivering within hours instead of days or weeks, and responding instantly to the customer’s needs. If you were wondering why some shops in the clothing trade only stock what’s on display, that’s the reason why.

It’s an amazingly thorough production. It even finishes with practical suggestions for communication skills, based on the notion that designers need to be able to write effective reports and good business letters. There’s a bibliography, a webliography, suggested design journals, and a glossary. It’s also stylishly designed and produced, printed on thick matte paper stock with colour-coded pages, bound in an attractive paperback A4 format, and elegantly laid out throughout.

© Roy Johnson 2006

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Kathryn Best, Design Management: Managing Design Strategy, Process and Implementation, Lausanne: AVA, 2006, pp.215, ISBN: 2940373124


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Design of the 20th Century

June 18, 2009 by Roy Johnson

pocketbook guide to major modern designers

These Taschen pocketbooks are very well produced, with high quality print, full colour illustrations, and they are amazingly cheap. I’ve bought several of them, both in the UK and abroad, and always been surprised at the integrity of the writing and the scholarship. But I have not been surprised at the quality of the illustration and the graphic design. It’s always been first rate.

Design of the 20th CenturyThis one is a collection of major designers and design companies in the twentieth century, arranged in A to Z format. Each entry consists of a biographical sketch or a historical account of a company or movement, with well-chosen colour illustrations of typical products. The authors are both experts in industrial design, both ex-Sotheby’s, and now running their own consultancy in London.

It’s amazing how many of the people represented were teachers, students, or felt the influence of the Bauhaus – Walter Gropius (architect) Marcel Breuer (furniture) Moholy-Nagy (photography) – though there are plenty from other sources – Le Corbusier (France), Charles and Ray Eames (USA), Charles Rennie Mackintosh (Scotland). Entries run from Alvar Aalto (Finland) to Frank Lloyd Wright (USA) and Marco Zanuso (Italy).

Lots of other well known names are represented: Lalique (glass) Mies van der Rohe (architecture) and Paul Rand (graphics). The one new discovery (for me) was Raymond Loewy, though I wondered why they chose to illustrate his work with a ceramic tea-set when he is renowned principally for streamlining automobiles and Greyhound coaches.

This volume is a very comforting mix of interior design, consumer products, teapots, chairs, and other domestic objects. But the main thing to say about such a high-quality yet low-price product is that it’s terrific value for money.

© Roy Johnson 2003

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Charlotte and Peter Fiell, Design of the 20th Century, Taschen, 2003, pp.190, ISBN: 3822855421


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Design Since 1900

June 30, 2009 by Roy Johnson

encyclopedia of modern design and designers

This is a comprehensive guide to all aspects of modern design. It covers graphics, consumer products, interior decor, furniture, print, advertising, plus industrial and architectural design. Entries run from the Finnish designer Alvar Aalto (who for obvious reasons always comes first in such listings) through Rene Lalique (glassware) and the multi-talented Hungarian Laszlo Moholy-Nagy, to typographist Hermann Zapf and Piet Zwart (who for the same reason always comes last).

Design Since 1900Most entries are illustrated by thumbnail graphics. It’s a shame they are not in colour, but you can’t expect everything in such a good-value production. The entries are either brief biographical sketches of individual designers (Saul Bass, Charles Eames, Raymond Loewy, Alexandr Rodchenko) with notes on why they have been so influential. There are also short histories of companies famous for their emphasis on design (Bauhaus, General Motors, Olivetti, Wiener Werkstatte).

Others include influential artistic movements (art deco, constructivism, neo-plasticism, and post-modernism) and individual products which have become icons of modern design (the Citroen DS19, Dyson vacuum cleaners, Tatlin’s Monument to the Third International).

There are notes on materials of manufacture (aluminium, formica, MDF, polyurethane) movements and schools (Deutsche Werkbund, Omega, and Black Mountain College) and explanations of technical terms such as anthropometrics, bit mapping, deconstruction, and third age design (which isn’t quite what you might think).

He even includes individual shops such as Biba, Habitat, and the Body Shop; typographists such as Neville Brody, Eric Gill, and Jan Tschichold. The only thing missing is Information Technology. There are a couple of mentions of computer games, but curiously enough not a single reference to Web design.

The text incorporates extensive cross-referencing, suggestions for further reading, and a chronological chart of design highlights since 1900.

© Roy Johnson 2004

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Guy Julier, Design Since 1900, London: Thames and Hudson, 2004, pp.224, ISBN: 0500203792


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Filed Under: Design history, Graphic design, Product design Tagged With: Decorative arts, Design, Design Since 1900, Graphic design, Product design

Design: A Short Introduction

June 27, 2009 by Roy Johnson

themes, principles, and categories of design

John Heskett kicks off this brief study by defining the term ‘design’ and shows fairly convincingly that it can cover a wide range of activities which affect “the forms and structures of the immediate world we inhabit”. There follows a quick gallop through historical attitudes to design problems, before getting under way with a look at the relationships between ‘form’, ‘function’, and ‘utility’. His focus is on design theory considered by categories (objects, communications, environments) rather than looking at the work of individual designers – though plenty of these are considered en passant.

Design: A Short IntroductionBy ‘communication’ he means the vast array of two-dimensional materials that play such an extensive role in modern life. For this read advertising, print, television, street signs, and web sites, plus hybrids such as the online promotional video. Once again he looks at general principles, but gives mention to individual designers such as David Carson, Milton Glaser, and Paul Rand.

On environment (interior and exterior design) he makes some interesting comparisons between America and Japan. Homes are much bigger in the USA, and the domestic appliances tend to be bigger and more old-fashioned. In Japan space is at such a premium that everything tends to be miniaturised, computerised, and designed to be stacked vertically, not horizontally

I was surprised he didn’t follow the logic of his own arguments here to consider the design of external environments such parks, airports, and other public spaces.

The design of ‘identities’ considers the sort of total corporate makeovers of the kind which Peter Behrens invented for the German electrical giant Allgemeine Elektrizitäts Geselschaft (AEG). He also considers disastrous examples, such as BA’s badly-judged, sixty million pounds re-launch of its visual identity with the much-mocked multicolour tailfins

Image is a projection of how a company would like to be understood by customers; identity is the reality of what a company delivers as experienced by customers. When the two are consonant, it is possible to speak of corporate integrity. If a gulf opens up between the two however, no amount of money flung at visual redesigns will rebuild customers’ confidence.

There’s a chapter on the relationship between design and business management and the politics of design in a national context which will be of particular interest to anyone with serious career ambitions.

He concludes with a glimpse into future possibilities, which gives him the chance to raise the issue of social responsibility in design – at which point I was delighted to note that he gave mention to Trevor Bayliss’ clockwork-powered radio.

This book was first issued as Toothpicks and Logos three years ago, and I have to say that placing it in the context of these ‘very short introductions’ has probably enhanced its value.

© Roy Johnson 2005

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John Heskett, Design: A Very Short Introduction, Oxford: Oxford University Press, 2005, pp.148, ISBN: 0192854461


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Designing Web Navigation

June 30, 2009 by Roy Johnson

optimising the user experience

Anyone who has ever designed a web site will know that navigation of its contents is a key issue in the site’s usability. Visitors must be able to find their way around – otherwise they’ll leave, and they won’t come back again. Successful navigation systems require good screen design, well thought out information architecture, clear labelling, logical hierarchies, and effective linking. This book deals with all these issues of designing web navigation in an extremely thorough manner.

Designing Web NavigationEvery aspect of navigational design is examined in close detail – through both theoretical models and technical research, and a practical examination of a wide variety of large scale web sites from around the world. It’s a beautifully presented book, with elegantly designed pages, full colour illustrations, and scholarly yet unobtrusive footnotes leading to web references and recommendations for further reading.

The chapters are almost exhaustively thorough. On navigation mechanisms for instance, he covers every possibility – from tabs to breadcrumb trails, and from dropdown menus to sitemaps, tag clouds, A to Z indexes, and star trees. You couldn’t wish for anything more comprehensive. He discusses the advantages and the potential disadvantages of each system, showing examples of where they are used to good effect.

Although it is primarily concerned with the delivery of content over the Web and read in browsers on a computer, he also discusses the navigational consequences of content delivery via mobile phones, personal digital assistants (PDAs) and even car navigation systems.

On the issue of designing a navigation system he has a very sound piece of advice. “Don’t start by designing the navigation on the home page.” This might seem counter-intuitive, because for most designers the home page is the focus of their attention, and it’s the root, the index page of the entire site. But it’s not the most important page for visitors. Most of them will enter via a page deep within the site to which they have been referred by a link from a search engine.

Although there’s quite a lot on extensive usability testing, in general he strikes a reasonable balance between writing for professional designers of large scale corporate and ecommerce sites, and smaller sites which might be the work of an individual entrepreneur. There are certainly plenty of tips on the presentation of text on a page for instance which could help improve the work of an enthusiastic amateur.

He ends by discussing the relationship between navigation and searching, social tagging systems, and rich web applications. These latter post a new challenge to designers, because web pages are no longer static entities which appear in the order they are summoned via mouse clicks. Rich web applications can compose the content of a web page dynamically. Once the user has chosen a new set of data on screen, there is nowhere to go back to. The page URL remains the same, even though what is being displayed has changed. Fortunately, he provides ample guidance to designers on how to cope with such new problems.

I think this is a book which aspires to position itself alongside Louis Rosenfeld and Peter Morville’s Information Architecture for the World Wide Web and Jakob Nielsen’s Homepage Usability as modern classics of web design principles.

© Roy Johnson 2007

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James Kalbach, Designing Web Navigation, Sebastopol (CA): O’Reilly, 2007, pp.394, ISBN: 0596528108


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Dictionary of Modern Design

July 28, 2009 by Roy Johnson

design, designers, products, movements, influences

This Dictionary of Modern Design is a serious textual resource on design matters, written by somebody who is quite clearly steeped in his subject. Jonathan Woodham is Professor of the History of Design at the University of Brighton, and this compendium has all the hallmarks of being a summation of a lifetime’s work. It’s an A to Z compendium of entries which run from architects and designers Alvar and Aino Aalto, through to typographer and book designer Hermann Zapf. It covers the period from the mid-nineteenth century to the end of the twentieth.

Dictionary of Modern Design There are over 2,000 entries on names and movements from the past 150 years of design. The only weakness is that there are hardly any illustrations – something they might rectify in a second edition. Individual entries are a mixture of individual designers – Paul Rand, Milton Glaser, and Jan Tschichold, plus movements such as Bauhaus, Omega workshops, and Wiener Werkstatte, to specific products such as The Dyson vacuum cleaner, Levi Strauss jeans, and the bathroom fittings suppliers Villeroy and Boch.

There are also entries on materials (polypropylene) places (Museum of Modern Art) events (Festival of Britain) institutions (the Design Institute) and even individual products such as Barby, the wonder doll, plus entries on companies (Habitat, IKEA) product strategies (flatpacks) materials (Formica) typographists (Eric Gill) and even shops (Biba and Healds).

Individual entries are punctuated by occasional pull-out boxes which define movements and general terms – such as art deco, constructivism, kitsch, neo-modernism, and streamlining. The entries are presented in a plain and uncluttered prose style, with cross references to related items:

Lissitsky, El (Lazar Markovich Lissitsky 1890—1941) The Russian *Constructivist typographer, graphic designer, architect, painter, photographer and theorist El Lissitsky was influential in the dissemination of *Modernism both through his work and his theoretical writings. He studied architecture and engineering under Joseph Maria *Olbrich and others at the Technical School at Darmstadt between 1909 and 1914, visiting Paris, the hub of avant-garde artistic activity, in 1911. He moved back to Russia to practise architecture in 1914, but also worked in the fine arts and illustration, underlining notions of his concept of the ‘artist-engineer’…
[and so on]

It’s a shame there aren’t more illustrations, but there’s a huge bibliography which reflects the scholarly provenance, a timeline which puts design events from 1840 to the present into a social and political context, and a comprehensive bibliography.

© Roy Johnson 2006

Dictionary of Modern Design   Buy the book at Amazon UK

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Jonathan M. Woodham, A Dictionary of Modern Design, Oxford: Oxford University Press, 2006, pp.544, ISBN: 0192806394


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Filed Under: Design history, Dictionaries, Graphic design, Product design Tagged With: Design, Dictionaries, Dictionary of Modern Design, Graphic design, Product design, Reference

dot-font: talking about design

August 10, 2010 by Roy Johnson

essays on design, typography, and bibliography

John Berry is the former editor and publisher of U&lc (Upper and lower case) the prestigious and influential typographical journal, and he has won awards for his book designs. (Lowercase) dot-font is a collection of short articles on graphic design he wrote for the portal web site Creativepro.com. I first came across this book when it was announced that, in common with many other authors in the digital age, John Berry was giving the book away free of charge as a PDF download. Why not re-cycle your own work and give it away free? This was the new economics

dot-font: talking about design I grabbed a copy, saw it was an attractive production, and immediately ordered a printed version from Amazon. By the time I had finished reading the first few chapters, I also ordered its sister production dot-font: Talking About Fonts. The original articles were basically his responses to exhibitions, lectures, and presentations he had attended. It sometimes feels a little odd to be reading about an event that took place some years ago and cannot be recalled. But his analyses and observations are those of a seasoned practitioner, and they retain their original value. Similarly, the formula of reproducing web essays as a printed book is quite successful. The original pages contained web links: those are missing here, but the structure remains, as well as illustrative graphics in the form of marginal thumbnails.

We get a lively introductions to design theorist Rick Poyner, then French book designer Massin, and a comparison of the signage in the underground rail systems of New York, Paris, and London.

There are a couple of chapters on the design and typography of American government ballot papers. These are offered as examples of bad design which have led to several disputed elections. So design really does have very practical consequences in the real world.

The central section of this collection comprises three chapters on book design and typography – from the shape and layout of the printed page, through the many choices that confront designers for presenting body text, even through to such details as the manner in which titles can appear on the spine of a book.

It’s a beautifully designed and illustrated production in its own right. The text is set in MVB Verdigris, the display in HTF Whitney, and there are generous page margins. Yet it’s not just a glamorous design portfolio: John Berry digs into some fundamental issues of design theory. It’s a book that is pleasing to the eye – but also one that will make you think.

dot-font design   Buy the book at Amazon UK

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© Roy Johnson 2010


John D. Berry, dot-font: talking about design, New York: Mark Batty Publishers, 2006, pp.128, ISBN: 0977282716


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Filed Under: Graphic design, Typography Tagged With: Design, Graphic design, Publishing, Talking About Design, Typography

dot-font: talking about fonts

July 13, 2010 by Roy Johnson

essays on fonts, typography, and design

John Berry is the former editor and publisher of U&lc (Upper and lower case) the prestigious and influential typographical journal, and he has won awards for his book designs. This is a collection of short articles on fonts and typographic design he wrote for the portal website Creativepro.com. I first came across this book when it was announced that, in common with many other authors in the digital age, John Berry was giving the book away free of charge as a PDF download. I grabbed a copy, saw it was an attractive production, and immediately ordered a copy in print. By the time I had finished reading the first few chapters, I also ordered its sister production dot-font: talking about design.

dot-font: talking about fontsThe articles range widely across issues of typography and the design of fonts – starting with an interesting historical note on the short-lived era of typography using Letraset (remember that?) . He goes on to the pleasures of old type specimen books; a review of an exhibition catalogue featuring Sumner Stone’s designs for a ‘classical’ sans-serif font (Basalt); and an appreciation of the Dutch Type Library in Hertogenbosch.

Some of the essays are in-depth studies of a single typeface – Matthew Carter’s Monticello and Herman Zapfs Optima for instance. In both cases he comments on the changes made when translating these designs into digital type, a process which generally seems to increase enormously the number of weights and sizes at which they become available.

He is quite insistent that any true typeface worthy of a distinguished name must include the full range of variants, accidentals, and special characters:

An old-style text face, based on types that were first cut and used in books in the 15th to 18th centuries, should be accompanied by old-style figures, by a complete set of f-ligatures, and by true small caps. It ought to have a set of real fractions too, or the numerators and denominators to create them. Without these, it looks as unconvincing as a callow Hollywood actor pretending to be a Shakespearean prince.

It’s a beautifully designed and illustrated production in its own right. The text is set in MVB Verdigris, the display in HTF Witney, and there are generous page margins. Yet it’s not just a glamorous design portfolio: John Berry digs into some some funamental issues of typographic theory and the use of fonts, such as the question of where the originality in reviving old typefaces ends and copying begins. It’s a book that is pleasing to the eye – but also one that will make you think.

dot-font fonts   Buy the book at Amazon UK

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© Roy Johnson 2010


John D. Berry, dot-font: talking about fonts, New York: Mark Batty Publishing, 2006, pp.126, ISBN: 0977282708


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Filed Under: Graphic design, Typography Tagged With: Design, Fonts, Graphic design, Typography

E McKnight Kauffer Design

June 24, 2010 by Roy Johnson

Anglo-American modernism and graphic design

Edward Kauffer (the McKnight was added later) was an American artist from a relatively poor background in Montana USA who compensated for a lonely childhood by his interest in drawing and art. He was fortunate enough to see the famous 1913 Armory Show of contemporary European art in Chicago and shortly afterwards he left for a brief version of the Grand Tour in Munich and Paris. This was curtailed by the outbreak of war – so he ended up in England. Via a series of very fortunate connections he secured a position working for London Underground, and produced a series of posters advertising the pleasures of suburbia and the countryside at the end of the line. E. McKnight Kauffer Design is an elegantly illustrated introduction to the full range of his work.

E. McKnight KaufferThese images made him famous, and the style he developed is now reproduced as exemplars of both good design and instant nostalgia. He was influenced by his studies of Toulouse-Lautrec, Alphonse Mucha, and the Sachplakat style he had seen first hand in Germany. Strongly shaped design, flat colours, and bold outlines were the hallmarks of these works.

He was also influenced by geometry (“We live in a scientific age, an age of T-squares and compasses”) plus Cubism and Orphism (as propounded by Robert Delauney). Following the establishment of his reputation in England, he also produced bibliographic designs for the Nonesuch Press and the Hogarth Press.

E. McKnight Kauffer - British Rail posterWith the outbreak of the second world war however, these commissions dried up, so he returned to America. But because his reputation by that time was an English designer, he found it difficult to become established again in his homeland. As Peyton Skipwith explains in his introductory essay to this collection of Kauffer’s work, “Like many another expatriate, his reputation seems to have got stuck somewhere in mid-Atlantic”

But he designed book jackets for Alfred Knopf, Harcourt Brace, and Random House and his career did finish on something of a high note with a series of posters for American Airlines which definitely do have a more national style.

E. McKnight Kauffer - Hogarth Press book jacketSome of the English book illustrations become slightly bucolic and whimsical, but wherever he asserts his appreciation of modernism (and the influence of The New Typography and Russian constructivism) the results are very powerful. Kauffer lived at a time when the term used to describe such work was the rather slighting ‘commercial art’ – but we would now call it ‘graphic design’.

The series of design monographs of which this volume is part feature very high design and production values. They are slim but beautifully stylish productions, each with an introductory essay, and all the illustrative material is fully referenced.

E. McKnight Kauffer Design   Buy the book at Amazon UK

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© Roy Johnson 2010


Brian Webb and Peyton Skipwith, E. McKnight Kauffer: Design, Suffolk: Antique Collectors Club, 2007, pp.96, ISBN: 1851495207


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Filed Under: Graphic design, Individual designers Tagged With: Design, E. McKnight Kauffer, Graphic design, Hogarth Press, Modernism

Edward Bawden design

December 4, 2016 by Roy Johnson

modern romantic design and illustrations

Edward Bawden (1903-1989) was a graphic designer and illustrator of the English romantic-nostalgic school. He is best known for his book jacket designs and murals in public buildings, but he worked in a number of different visual media – ranging from advertising posters to wallpaper design and the labels for beer bottles.

Edward Bawden

He was born in Braintree in Essex, going from local education to Cambridge School of Art. From there he went on a scholarship to the Royal College of Art where he met his lifelong friend and fellow illustrator, Eric Ravilious. They both studied under the supervision of painter Paul Nash.

Shortly after graduation he was fortunate enough to receive a number of commissions. First for decorative tiles for the London Underground, then a mural for the refectory at Morley College. He began to work one day a week as an illustrator (along with Ravilious and Nash) at the Curwen Press, which produced high-quality colour lithography and short runs of specialist publications. Bawden designed decorative borders, endpapers, and illustrations – a foundation which he continued into his later life with work for Faber and Faber.

Following his marriage to a fellow RCA student Charlotte Epton, he moved from London back to Essex, where he developed a strong attachment to the countryside and began to produce watercolour paintings. This led to one-man exhibitions at both the Zwemmer and the Leicester Galleries.

Edward Bawden

The Queen’s Garden – Kew

During the Second World War he served with the British army as an official war artist – first in France, then in the Middle East. Returning from Cairo, his ship was torpedoed and he spent several days in an open lifeboat before being picked up by the (Vichy) French navy. This resulted in his being held prisoner in an internment camp in Casablanca.

After the war he designed fabrics and murals for cruise ships, and he participated actively in designs for the Festival of Britain. These led to big public commissions for the BBC, the British Council, and London Transport.

It has to be said that part of Bawden’s success was his ability to work in any number of different visual media — linocuts, engraving, lithographic prints, watercolour, or line drawing. This supported his willingness to undertake the most humble commissions. His work includes not only large-scale public works, but dust jackets and illustrations for recipe books, and promotional materials for Fortnum and Mason – even down to the design for biscuit tins.

© Roy Johnson 2016

An Essay on Typography   Buy the book at Amazon UK

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Brian Webb and Peyton Skipworth, Edward Bawden Design, Suffolk: ACC Art Books, 2015, pp.96, ISBN: 1851498397


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Filed Under: Graphic design, Individual designers Tagged With: Design, Edward Bawden, Graphic design

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